TOPKAPI

US, 1964, 119 minutes, Colour.
Melina Mercouri, Peter Ustinov, Maximilian Schell, Robert Morley, Akim Tamiroff.
Directed by Jules Dassin.

Topkapi is an enjoyable heist movie – made at the time of such films as The Pink Panther, anticipating the robbery series on television with their high technology.

The film was based on a novel by popular writer, Eric Ambler. It was directed by Jules Dassin who made a number of films in Hollywood, including Naked City, but was blacklisted in the early 50s and went to Europe. He made classic films there including Rififi, a French heist film of 1954 and, with his wife Melina Mercouri, Never on Sunday. He also directed the interesting version of Kazantsakis’ novel, He Who Must Die.

This is Dassin with the light touch. Again he is working with his wife. Maximilian Schell who had won an Oscar for Judgment at Nuremberg three years earlier is the central character, a conman who is challenged by a group of jewel thieves to steal a dagger from the Topkapi museum in Istanbul. Peter Ustinov won his second Oscar (the first for Spartacus in 1960) as a bumbling British crook. Robert Morley is also on hand for some comic touches and Akim Tamiroff as a cranky member of the group.

The film is beautiful in its use of Turkish settings. It is exciting in terms of the details of the robbery – being lowered from roofs, anticipating Tom Cruise in such films as Mission: Impossible, with this kind of suspense.

The film is witty in its dialogue, has excellent characterisations, and is a first-class entertainment.
 
1. This film is beginning to be considered a classic of entertainment? Popular ingredients?

2. The indication of the title and focus on Istanbul? The locations and the tour of Istanbul? how important for this film? The picture of the Turkish city, Turkish life, the harshness and glamour, the monuments and the sense of history, the duels? The museum and the detailed knowledge by the audience of the Museum? The film’s creation of atmosphere and its importance?

3. The film considered in the robbery genre? How successful? The details of the plan, the tongue in cheek approach, things going wrong, the skill in the execution, the fact that the criminals were caught, the irony throughout and in the ending? The films capacity for suspense, interest, the humour with Arthur Simpson as the substitute?

4. How successful was the film as comedy? The satire on the various types? Melina Mercuri, Peter Ustinov, Robert Morley?

5. How did the opening set the tone of the film? The presentation of the jewel? Elizabeth’s fascination and the dynamism of her character? Gathering together the criminals and the satiric way in which they were presented? Did the film follow this up well?

6. The focus of attention on Elizabeth, the character, her motivations, her vitality, her shrewdness in executing the plan? Cajoling Walter? Her joy and zest and person? Her fascination with the details? Her control of the characters? Her interest in the wrestling? The use of her laugh during the robbery? How well developed was her
character in the film?

7. Walter as a hero? his skill in plans and in his job? Relationship with Elizabeth? Control of the other characters? Ingenuity?

8. The humour in Cedric Page? The introduction via his toys, his skill, his pompous character, the satire on the English? Giulio and his role in the robbery? His skill, yet his final mistake? The contrast with Fischer?

9. How important was Arthur Slageon for the success of the film? The skill of Peter Ustinov’s comedy, the presentation as a guide adapting to visitors? his being a chauffeur, getting caught, caught in the double agent net, his capacity for telling stories? The humour of his being taken into the plan? His fear of heights? The collaboration? How developed a character was he?

11. The picture of the Turkish police? Comedy or serious? The emphasis on espionage? (the humour of Gaven and his babbling about ages and mistaken identities)? The visual presentation of ingenuity, delaying the police at the wrestling match, the use of the searchlights, the roof? Suspense?

12. The irony of their being caught? The humour of the plans for Moscow, how successful a robbery comedy?