Who knew insects could be so funny?

A movie that I didn't know much about until the last time it showed up on TCM is The Grasshopper. The synopsis made the movie sound like it might be interesting, so once again I decided to record it so that I could eventually watch it and write up this post on the movie.

Jacqueline Bisset stars as Christine Adams, a young woman who lives in a small town in British Columbia but apparently has a boyfriend who's moved down south to the States. (I don't recall seeing the boyfriend in the movie, and looking at the credits, the boyfriend doesn't seem to appear.) As the movie opens, Christine has decided she's just going to get in her car and drive down to Los Angeles were said boyfriend lives to go live with him. Unfortunately for her, her car breaks down along the way, so she takes to hitch-hiking. Danny Raymond is a comic who is riding with his agent, and the two stop and pick her up. However, they're not going to Los Angeles but to Las Vegas, and they don't drop her off at the turnoff, suggesting that everybody needs to see Las Vegas at least once.

Christine needs a job, and she meets a guy who runs one of the smaller night spots in Vegas. This being Vegas, the floor show involves the women dancing topless. Christine says she acted in a production of Little Women in school, to which the manager asks if she did it topless, because this is the sort of club where people only come to see women's breasts. Not that he puts it quite that way, instead using a euphemism. But Christine gets the point and eventually responds by dropping her blouse and showing her prospective boss her assets, which gets her the job. There, she meets Jay (Christopher Stone), a seemingly nice young man in the house band who, it is intimated, is gay. She's introduced to Tommy Marcott (Jim Brown), a former NFL player now working as a greeter at one of the big hotels, living off his name. Christine and Tommy have a Las Vegas wedding.

But it doesn't quite work out. A piece of crap at the casino uses Christine to try to get to Tommy, and when she doesn't play along, he beats her, with Tommy responding by beating the shit out of this guy. Unfortunately, the guy has Mob connections. So when Tommmy and Christine move to Los Angeles, and just as it looks like Tommy is going to be able to get a legitimate job in the construction industry, that old guy from Las Vegas has one of his henchmen shoot Tommy dead in a hilariously badly staged scene.

It gets more hilarious when, on the way home from the funeral, Christine has her driver stop so she can pick up two random guys sitting at a bus stop because they look like the sort of guys who can ply her with good drugs. She supposedly spends several hours threatening to jump off the roof of her apartment building. Joseph Cotten (billed much too high for his smallish role) shows up as a sugar daddy offering Christine a better life that she ultimately doesn't care for. The story finally meanders its way to an airport where rich guys like the Cotten character hangar their private planes. Christine and a mechanic at the airport who is also a would-be pilot, steal one of the planes for the film's rather ridiculous finale that also has the two of them smoking what's presumably marijuana.

The Grasshopper is one of those movies that came out not too long after the Production Code finally disintegrated and filmmakers thought they could be more daring. You get the impression they wanted to be daring, but the finished product is less daring and more ridiculous. Also, the plot, such as it is, is a mess; to be fair, one might think of The Grasshopper as more of a character study. However, it has its points of being so ridiculous that it's a unintenionally funny. Bisset also gives a reasonbly good performance early in her career.

The Grasshopper got a Warner Archive release, so you can watch it whenever you want.

Bedside

A movie that for some reason I thought I had already written a post on that doesn't seem to be showing up either in a search of the blog, or a file serach on either of my systems, is Bedside, which seems a bit of a surprise to me since I only saw the movie a few months back and would have written up the post then. So now I'm making certain I've written up that post and scheduled it on the blog.

Warren William stars as Bob Brown. He's a man who'd like to be a doctor and by all accounts he has a promising knowledge of medicine. But somewhere along the way he ran out of money to finish medical school without which he can't get that license. So instead of practicing medicine as a doctor, he's working as an X-ray technician in a clinic along with his girlfriend, the nurse Caroline Grant (Jean Muir). Caroline, for her part, is responsible and has saved up some money, and is willing to help Bob complete his medical school education. Presumably they'd get married afterwards and be able to live a secure life.

But Bob isn't the most responsible person, and the same issues that caused him to drop out of medical school the first time screw up this second attempt to finish medical school. Bob likes to drink and, worse, gamble, with the result that he gambles away the money he should be using on medical school. How's he going to tell his girlfriend that he's been stupid and lost all of the money that was supposed to go to something important?

Well, something happens that's a great stroke of luck for Bob. Working at another of those clinics late one evening, Bob is approached by a shifty-looking Smith (David Landau), who is asking Bob to supply himn with morphine and who clearly seems to know more than he's letting on. Bob concludes that Smith must have been a doctor in a previous life who screwed up by getting into his own supply of morphine (in the 1930s, it wasn't uncommon for doctors to fill prescriptions themselves and have the medicines on hand), and is now an addict who needs to keep finding a source of morphine. Smith still has his medical school diploma, so Bob blackmails him in a way: sell me your diploma or you don't get the morphine. This will allow Bob to hang a diploma on the wall, although he still technically isn't licensed, not having passed the licensing exam.

Because Bob hasn't got an official license, he's technically not supposed to be practicing medicine. So when he opens up his tony private practice with Caroline as a nurse, he needs another doctor to do the actual medical work. He finds one in Dr. Wiley (Donald Meek), and is able to keep manipulating things in such a way what it's always Dr. Wiley who's doing the doctoring. And with the help of tout Sam Sparks (Allen Jenkins), Bob gets a lot of patients.

But of course people are going to notice that there's something not quite right, and even Caroline cottons to what's going on. But in a stunning twist, one night when she's leaving the clinic she gets hit by a car when getting off the sidewalk. When she's taken to the hospital, the only doctor who's around to operate is... Dr. Bob, who of cousre is not a doctor.

Bedside is in many ways nonsense, in that I can't help but thing that even in the 1930s in a big city, it wouldn't be possible for Bob to get away with this stuff. Maybe in a small town that doesn't have access to any real doctor, someone like Bob could serve the function of something between a nurse practitioner and a full MD. But the movie is interesting, thanks to the fine performance from Warren William as the cad and even more so David Landau as the morphine addict. It's a shame that Landau was soon to suffer the stroke that led to the end of his career and his early death, as Landau was a really good supporting actor in a whole string of movies in the three or four years he was in Hollywood.

La bataille de San Sebastian

Next up among the movies that's been sitting on my DVR waiting for me either to get around to watching it just before it expired or for the next TCM showing is Guns for San Sebastian. This time, that means another TCM airing, tomorrow, May 13, at 11:00 AM.

The movie has some opening intertitles that imply this is based on real history, but as far a I can tell it isn't. In Mexico in the 1740s, the Spanish still hold the place as one of their many colonies in Latin America, although there a lot of rebellious sorts among both the native peoples and those of mixed race. Leon Alastray (Anthony Quinn) is one of those mixed-race people, and as the movie opens he's been chased into some village after having been shot. But he's been fortunate enough to make into the church of parish priest Fr. Joseph (Sam Jaffe), who's enough of a radical that he's not going to give Leon over to the government. Fr. Joseph, for his secular sins against the state, is given the assignemnt of going to the God-forsaken middle of nowhere village of San Sebastian to find out what happened to that parish's previous priest.

But, Fr. Joseph is able to hide Leon out under the cart he's taking to the village. Or at least intends to, since getting to the village involves crossing a stretch of desert. Eventually, the two men do make it to San Sebastian, where the find that the church is crumbling and there don't seem to be any inhabitants left. Fr. Joseph, pious man that he is, starts ringing the bell anyway to summon any Christians who may be in the area. Except that what it summons is not a Christian, or at least not one that's coming to pray. Instead, a bandit fatally shoots Fr. Joseph.

There were villagers at one point, and in some way still are, as they eventually come out of their hiding up in the hills. The mestizos as well as the local Yaqui tribe have been engaging in predatory raids on the land in part because the locals have good grain stores and in part because the Yaqui want what they see as their land back. Every time there's a raid, the locals flee to the hills. This time, however, due to a series of misunderstandings, the locals see Leon, think he's the new priest, and think that there's been a miracle performed. So their intention is to stay in town, with Leon as their new parish priest even though Leon really doubts the existence of god. He just happens to have been bequeathed Fr. Joseph's cassock.

Leading the mestizo raiders is Teclo (Charles Bronson), who is at times in league with Yaqui leader Golden Lance (Jaime Fernández) and at times wokrking with just the other mestizos. In any case, they're enough of a threat that Leon is determined to tell the local to stop being such cowards for god's sake and start fighting back! They do so first by rebuilding their dam, and then petitioning the colonial governor to send arms so they can fight the Yaqui and Teclo themselves. Along the way, Leon falls for one of the locals, Kinita (Anjanette Comer), although this is a problem considering that he's supposed to be a Catholic priest and priests are, after all, supposed to be celibate.

The locals try to make peace with the Yaqui, but Teclo doesn't want to see that happen, so he scuppers things leading to the final showdown. Of course, there's still also the issue that Leon himself is supposed to be an outlaw still....

Guns for San Sebastian is another of those international co-productions that for me always seem to be a bit of a problem because the required dubbing in post-production always feels a bit artificial. The visuals are nice and the story is pretty good, although it does drag a bit. The movie could probably have been 90 to 95 minutes instead of the 110 that we get. Still, it's not a bad movie and definitely worth watching at least once.

Father of the Bride (1991)

Tonight and next Monday, TCM is running a two-night salute to comic actor Steve Martin. As it turns out, one of the movies that they're running is on my DVR thanks to my having recorded it during TCM's memorial tribute to Diane Keaton back at the end of January: Father of the Bride, which comes on tonight at midnight (so Technically May 12 in the Eastern time zone but the evening of May 11 in more westerly time zones).

Now, as you can probably guess, this is a remake of the 1950 film Father of the Bride starring Spencer Tracy as the father and Elizabeth Taylor as the bride. Indeed, the screenwriters on the original, Frances Goodrich and Albert Hackett, get a writing credit here too. This time, it's Steve Martin as the father George Banks, with the late Diane Keaton as George's wife Nina. The two of them have a happy life in a Los Angeles suburb where George manages a comapny that makes athletic shoes. They've got a surprise baby who's now eight or nine (played by a young Kieran Culkin), as well as an adult daughter Annie (Kimberly Williams), who up until a few months ago was studying architecture in Rome for her master's degree. But the movie opens up with George doing a voiceover just after the wedding ended, and with the title, it's fairly obvious that the wedding is going to take place.

So we get the flashback to the day Annie returns from Rome. At the dinner table, she's got a big surprise for her father. While in Rome, she met a nice man who works as a "communications consultant". The two fell in love and have gotten engaged, which is a pretty big shock to Dad, who doesn't yet seem ready to "lose" his daughter to whom he's devoted in the way that fathers are to their daughters. Unsurprisingly, Dad also expects the worst as Annie's fiancé Bryan (George Newbern) comes over for a visit.

We're told from George's opening narration that everything's taken place over about four months, so we get the preparations for the wedding in a way that displays the truth of Murphy's Law: anything that can go wrong will. Annie and Nina want the best to the point of hiring a wedding planner Franck (Martin Short) who's an extreme parody. Franck's suggestions result in the price of the wedding going up and up to a point that seems a bit expensive even for today, not that I've priced out a wedding and reception recently. Bryan's parents are also wealthier than the Banks, which at least in George's mind creates a bit of conflict. And as in the original, there's even a point where Annie thinks of breaking off the engagement because she thinks Bryan has disrespected her.

As I said a few paragraphs ago, we already know from the beginning that the wedding is going to go ahead, and it seems as though everybody is going to live happily ever after, so the conflict of the plot, such as it is, involves exactly how we get to the joyous occasion and the reception. It's been an age since I've watched the original, but there are enough minor differences between the two versions.

I have to say that of the two, I think I prefer the original. They're both supposed to be comedies, but with Spencer Tracy leading the original, it's more of a gentle comedy. Steve Martin is certainly talented, but with his known quantity as a comedian, the result is something that often plays as a bit more zany. That's not necessarily bad, but I personally like the gentleness of the original more. The other thing in the remake that I think is a bit of a weakness is the enlargement of Martin Short's character. He's certainly a talented actor too, but Short is really overplaying his character.

Still, there's definitely a lot to enjoy about this version of Father of the Bride, and certainly anybody who's been through a wedding recently is going to like it.

I think we can guess who the beauty is

Red Skelton was TCM's Star of the Month back in 2025, and I recorded several of his movies. I don't think I got around to watching all of them before they expired, but since he worked at MGM his movies show up often enough on TCM. One such film is the star-making turn for Esther Williams: Bathing Beauty.

Bathing Beauty was made when Red Skelton was still the bigger star, so we get him first in the credits and the story is more about his character. Skelton plays Steve Elliot, a Los Angeles-based songwriter about to get married to college swimming instructor Caroline Brooks (that's Esther Williams, as if you couldn't tell). Steve talks to Caroline about starting a new life after getting married and finishing up his current job of writing a musical for producer George Adams (Basil Rathbone). George is none too happy about this, so he comes up with a way to scupper the marriage by claiming that Steve is already married to somebody else and producing that fake wife. With that, Caroline leaves him and goes back to her college back on the other coast.

Unsurprisingly, Steve wants to put things right, and follows her back to the college in New Jersey where she teaches, accompanied by singer Carlos Ramirez, who is clearly only in the script because the movie was made in early 1944 during the "Good Neighbor" policy with Latin America. However, the two men are blocked from entering campus because Caroline teaches at an all-girls' school. But this is a comedy, so we have to have a way for Steve and Caroline to end up in close proximity under odd circumstances. That happens when Steve meets one of the trustees and learns that the charter hasn't officially delared the college an all-girls' school. So Steve tries to enroll and, since the trustees can't legally stop him, come up with a way to admit him but with a plan to get him expelled for demerits.

Much of the rest of the movie deals with Steve's attempts to get back to Caroline, who is also being pursued by a botany professor Willis (Bill Goodwin), along with the comic predicaments the only male student at an all-girls' school is bound to get himself into. One such involves Steve's having to do ballet, in a skit that Skelton would reuse in the movie The Clown. There's also a whole bunch of musical numbers, including Harry James and his orchestra, along with Xavier Cugat and his orchestra. Oh, there's that Good Neighbor policy again. As you might guess with a movie like this, the film climaxes with an aquacade, along with Steve and Caroline winding up together at the end of the movie.

Bathing Beauty is one of those movies that was made in part as a morale-booster; indeed, the movie ends with a card mentioning that movies like this were also being sent overseas to entertain the troops who were off fighting the war against Germany and Japan. As such, the plot doesn't particularly matter here. Don't try to pay too close attention to the plot because that's not the point. Instead, the movie is more about the musical numbers along with the final big swimming number, along with Skelton's comic antics. The Technicolor is vibrant here, especially for that final aquacade. It's easy to see watching Bathing Beauty why it was a box office hit and the sort of movie that would get sent abroad to cheer up the troops.

If you're interested in Hollywood history, Bathing Beauty is a good entry into the phenomenon that was Esther Williams.

TCM schedule heads-up

Tomorrow is Mother's Day, and as always TCM is running a number of movies that are appropriate for the occasion. As usual, that includes another showing of Mildred Pierce, at 12:15 PM, which seems to be the one constant that shows up every single Mother's Day.

Another movie that shows up quite a bit is I Remember Mama. Indeed, it was originally scheduled to be on in prime time tomorrow night. Unfortunately, Ted Turner died earlier this week, and TCM has scheduled one of the quicker memorial tributes out there. Apparently Ted Turner's favorite movie was Gone With the Wind, which would also make sense as to why it was the first movie TCM ran when it went on the air back in 1994. So TCM is running Gone With the Wind at 8:00 PM tomorrow, along with a tribute that was given to Turner at the TCM Classic Film Festival some years back.

Three more musketeers

I've got a couple of movies from FXM that I hadn't seen before and was planning on blogging about the next time they came up. Now, as it turns, out, one, The Lieutenant Wore Skirts, is a movie I did blog about back in about 2018. But I know that I had not seen the 1939 Fox version of The Three Musketeers before. This one is getting another airing tomorrow, May 10, at 4:45 AM, so once again, now's the time to put up the post about it.

The movie informs us right from the start that this is a musical comedy version of Alexandre Dumas' famous story. Don Ameche plays D'Artagnan, the adult son of a Musketeer in the 1620s France of king Louis XIII (Joseph Schildkraut). D'Artagnan lives in Gascony in southwestern France, but is making his way to Paris in order to become one of the King's Musketeers. Along the way, he meets a couple of the Musketeers who aren't in uniform and pisses them all off to the point that he challenges them to duels in Paris.

So all three of them, who just happen to be Athos, Porthos, and Aramis, show up at the appointed place, at the same time: an inn/tavern where the proprietor seems to be off for the night and three dim-witted workers, played by 1930s comic team the Ritz Brothers, are running the place. The Musketeers challenge these men, whose characters are listed in the closing credits as Three Lackeys, to drink to every King Louis that France has had. Thanks to their incompetence, the lackeys spill most of their wine while the Musketeers get blackout drunk, prompting the lackeys to change into the much nicer Musketeer outfits. This is also how D'Artagnan finds the lackeys when he shows up, and since D'Artagnan wanted to be a Musketeer himself, he joins them, or has them join him.

Meanwhile, there's that palace intrigue going on that you might recall if you've seen a more serious movie version of the story. Cardinal Richelieu (Miles Mander) is the King's prime minister, but is trying to amass more power by having his own private security force that is working on diminishing the power of the Musketeers who, in Richelieu's mind, are too prone to random violence. There's also the matter of relations with England. Her Majesty the Queen Anne (Gloria Stuart) had been carrying on an affair with the Duke of Buckingham, and gave him a brooch to remember her by when he had to go back to England. Richelieu is pretty certain of this thanks to his spies among the court such as the Milday de Winter (Binnie Barnes).

Meanwhile, D'Artagnan and the lackeys meet Lady Constance (Pauline Moore), another of the Queen's ladies-in-waiting, who is the one who gets D'Artagnan involved in retrieving the brooch for the Queen since D'Artagnan is clearly more of a stauch supporter of the royals and not Richeliu. Along the way Don Ameche gets to sing some songs while the Ritz Brothers do their slapstick routines.

This version of The Three Musketeers is less about the Dumas story and more about the songs along with the Ritz Brothers' shtick. Whether you like the movie is going to depend in good part on what you think of the Ritzes, who are a decidedly dated sort of comedy. It also doesn't help that poor Don Ameche is saddled with some subpar songs. I'm reminded of the I Love Lucy episode where Lucy and Ethel write a song for a Camelot number Ricky wants to do, and come up with terribly inane lyrics. However, I think the movie as a whole is just more forgettable than actually bad. It's only a brief 72 minutes, so more programmer-length than ponderous prestige movie. And of course some people may actually enjoy the Ritz Brothers.

Another pirate movie

Some time back I did a post on one of the MGM historical mystery shorts, Captain Kidd's Treasure. I mentioned at the time that I had a different movie Captain Kidd, on my DVR, uncertain whether I had seen it before. I watched it, and in fact had not seen it, so now we get a post on it.

Charles Laughton stars as the famed pirate William Kidd. As the movie opens, it's 1699, and Kidd is on a ship not far off the coast of Madagascar, having turned to piracy because his privateer work has come to naught leaving him heavily in debt. (At least, that's the real-life William Kidd, the movie legends play fast and loose with the facts.) Kidd and his men sink a British ship called the Twelve Apostles, and bury the treasure on one of the islands off of Madagascar. However, one of Kidd's men chafes a bit under Kidd's leadership, and gets shot for his trouble simply because Kidd is that brutal of a man.

Kidd returns to London, with a crew including Orange Povy (John Carradine) and Jose Lorenzo (Gilbert Roland). Kidd's plan is to ingratiate himself with the king, William III, in the hopes of getting a new ship and going out ostensibly in the King's service, but with the real intention of returning to piracy as well as getting to that island to get the booty from the Twelve Apostles. To that end, he needs to pass himself off as a gentleman, hiring the valet Shadwell (Reginald Owen).

The King buys Kidd's assertion that the captain of the Twevle Apostles was an actual pirate, and grants a commission to Kidd. Kidd goes to various prisons to round up a crew, seeing as most other men wouldn't want to go to sea if they could avoid it and condemned prisoners would be more likely to take up the job with the prospect of a pardon coming at the end of the tour at sea. They've got nothing to lose, after all. However, one of the prisoners seems a bit odd. Adam Mercy (Randolph Scott) is, among other things, able to write, and doesn't talk like the people of the social classes that make up the rest of the crew.

Out at sea, Mercy both ingratiates himself to Kidd and tries to spy, telling Kidd when he's caught out that His Majesty obviously wanted a representative on board to make certain everything is on the up and up. If something were to happen to Mercy, it could be bad news for Kidd. How much of that story is true is, well, something you'll have to watch to the end of the movie to find out. Meanwhile, Kidd is already plotting to kill the other men who were with him when they buried the treasure off of Madagascar.

In the Indian Ocean, Kidd's men destroy another British ship, although this one comes with more booty than just the traditional treasure. There's a good looking woman, Lady Anne (Barbara Britton), whose father was on board as the ambassador to one of the rajes in India looking to curry favor with King William. Lady Anne has the feeling she's seen Mercy before, while Kidd gets a stronger feeling Adam isn't what he seems or has claimed to be. Now, we know that the real-life Captain Kidd was hanged for his crims, so he's likely not going to get away with his perfidy here.

I have no idea how much of this version of Captain Kidd is real. From what I've read of Kidd's life, some names from Kidd's real life are used here, but that seems to be the extent of the basis in reality. But regardless of that lack of reality, Captain Kidd is entertaining enough, thanks to a production that knows how to get a lot out of a little, along with a pretty good cast. Laughton overacts, although that works here because Kidd is in many ways a larger-than-life figure. Scott isn't exactly British, but is OK with what he's asked to do here.

There are higher quality seafaring movies out there, but if you're looking to be entertained, Captain Kidd will fill the bill.

Här har du ditt liv

I've mentioned a couple of times how I have a tendency to record enough foreign films that I don't quite get around to watching all of them until they're just about to expire from my YouTube TV cloud DVR. One night of TCM Imports included a pair of Swedish films, and I finally watched one of them: Here Is Your Life, from director Jan Troell.

The movie opens up around 1916. Olof (Eddie Axberg, who would appear in Troell's later films The Emigrants and The New Land) is a boy of around 14 in northern Sweden who has been forced to enter the working world because his father has some sort of terminal illness. Olof gets a job with a bunch of rather older men in forestry, specifically getting logs downstream to the lumber mills. It's difficult work and the sort of thing that led to industrial accidents and workers dying. Olof eventually takes a job in the mill part of forestry, and this time one of the workers is even younger, a boy named Oskar who really shouldn't be doing this work except that a good portion of rural Sweden was still poor enough that families had to send their children into work like this. Poor Oskar gets seriously injured when a pile of logs falls on him, and he later dies in hospital although we don't see the actual death.

In any case, all of this gets Olof to take a new job, especially since he's been doing some reading and shows some aptitude for intelligence even though he obviously hasn't had a lot of traditional schooling. That job is in a small town at a movie theater, although it's not a custom-built theater but the sort of space that would have been converted from something else into showing movies. Olof's job is to put up handbills for the coming attractions, as well as take tickets and sell snacks. If he's good enough, he might even be able to get a promotion to become a projectionist. This is also where Olof meets his first girl, although his love life, such as it is, isn't going to be straightforward. Olof also meets a socialist, although my reading of the timeline of the movie is that the October Revolution of 1917 in Russia had not yet taken place.

Olof's next job is indeed as a projectionist, although it's not with the theater he started at, but with an itinerant theater that sets up shop wherever it can. One stop is with a traveling circus, and it's there that Olof meets the woman who runs the shooting gallery. This too is going to be a complicated relationship. Olof eventually gets another job with Swedish Railways, which is a state-owned enterprise. That's worth mentioning since Olof is getting more heavily into socialism and workers' rights, railing against capitalism. He and his friend at the railway discuss getting the workers to strike as an anti-capitalist move, even though the railway is technically a socialist outfit. Olof goes on like this, until the movie ultimately ends with no clear resolution.

Then again, Here Is Your Life isn't a traditionally-plotted movie, but a coming-of-age story about one character, which is partly why I didn't mention the actors playing the other characters. Max von Sydow does appear, although I didn't recognize him. Axberg does a good job, and the cinematography is also quite good. However, I have to criticize the film for having a very slow pace and a way-too-long running time, at 160-some minutes. Either the movie should have been written to run into something under two hours, or it should have been conceived as something episodic like a TV miniseries. The adventures of Olof might work as a multiple-part miniseries, or what would nowadays be a limited series, but not as quite so well when it's one movie running close to three hours.

The Day They Robbed the Bank of England

Some time back, I mentioned how I had recorded The Day They Robbed the Bank of England off a TCM showing. Unfortunately, there was a technical issue with the recording such that the sound was not in sync with the video, making it unwatchable. It eventually aired again and the DVR picked it up. This time there didn't seem to be any issue with the synching, so I was able to watch it and write up this post.

The movie opens with an expository presentation about how the Bank of England had some hidebound traditions about guarding the currency, and the use of royal guardsmen to accompany the gold bullion that ended up in the vaults. We then go back to London at the turn of the century. Ireland was still controlled in its entirety by the UK government, although even at this time there were people advocating for Home Rule, which was a sort of autonomy (see the Clark Gable movie Parnell), as well as people who might be more willing to engage in violent means to achieve complete Irish independence from the UK. O'Shea (Hugh Griffith), the leader of one such revolutionary cell, has come up with an audacious plan to help the Irish independence movement.

O'Shea's plan is to rob a bunch of that gold out of the vaults. For one thing, that gold is worth quite a bit, and that would definitely finance the independence movement. But there's also the big political statement it would make if Irish revolutionaries could steal gold right out from under the government's noses. But they need expertise and people who wouldn't be suspected by the British. To that end, O'Shea sent Iris Muldoon (Elizabeth Sellars) over to the US to recruit, and she's picked up Charles Norgate (Aldo Ray), a mining engineer. This is a profession that has multiple advantages. One is us an explosives expert, while a second is in dealing with tight spaces and the spatial relations of mapping things underneath the bank. There's no real way they're getting past the guards, so they're going to have to tunnel.

Of course, simply tunneling right now isn't good enough. Norgate begins what is essentially a circa-1900 version of a phishing operation. He tries to get information from the bank officers, although you couldn't just open up a bank account at the Bank of England in those days. He also befriends Lt. Finch (Peter O'Toole in an early role), an officer in the guards who guard the vaults, although of course Finch doesn't really have a clue of Northgate's real intent. Northgate also passes himself off as an architect to get people to give him information about the construction of the bank and the vaults, although the actual plans of the vaults are kept under lock and key.

To get those plants, Northgate gets help from Walsh (Kieron Moore), another member of the cell. Walsh has a thing for Muldoon, not realizing that she and Northgate had a romantic relationship during their time in the States. They've got other reasons to be in conflict, so when the time comes to actually go into the sewers and get to the location from where they're going to dig into the vaults, there's debate over how to proceed. This gets more complicated when there's a twist of the Home Rule bill being reintroduced to Parliament. Go ahead with the robbery now and there's no way the bill is getting passed.

The Day They Robbed the Bank of England is one of those heist movies where there's quite a bit of time spent on building up the preparation of how the heist is going to be carried off. And, much like the later The Great Train Robbery, it's got the added interest of being a period piece. Unfortunately, The Day They Robbed the Bank of England doesn't quite have the budget or location shooting of the later movie, so while it's certainly adequate, it also feels like there's something missing. I think you'll enjoy it, but at the same time it could have been better.