GRAND SLAM (1967)

I ended up watching one of those topnotch heist thrillers that manages to stand in the league of ‘Rififi’, ‘Topkapi’ and ‘Le Cercle Rouge’. And those who have seen it felt the tense filled two hours full of great twists, surprises and an awesome heist sequence on screen, not to be missed.   

One fine day a retired old school teacher of Rio goes to New York, Paris, London and Rome to hire the professional experts for the million dollars heist deal of diamonds. The team comprises of a safe cracker, a mechanical expert, a master thief cum acrobat professional and a playboy; quite an oddball to fit the list. They all soon turn to Rio & has four days to practice and work according to the plan set and shared by the old man. However things are not as easy for all of them, especially the one for the playboy who was hired to play a crucial role to seduce the lady who has the key. But what’s the most difficult and complex hurdle to crack is Grand Slam 70, a system of very sensitive microphones that registers slightest noise. Any noise above 40 decibel enables alarm to ring automatically. This unmentioned hurdle in the plan shared to all professional becomes one of the most complicated gadgets to silence.

Like those unparalleled classic heist masterpieces of Dassin & Melville, the film manages to project all four aces of perfect heist thriller. The plan, hunt of experts, practice and final execution. And director Giuliano Montaldo managed to pull the all four parts so damn well with special mention of its extraordinary heist sequence. The breath taking and absolutely tense filled execution lasts exactly for thirty four minutes with hurdles and individual professional roles to play by all four players. And as it’s perfectly pitches to success, we see the crackling climax with a mind-blowing twist and yet that’s not perfect ending. There’s one more surprise show stopper to give you another jolt. Just awesome!

It shares the company of two screen titans; one too old, another too young. Edward G Robinson and Klaus Kinski’s close association with crime and anger befits so perfectly to its plot. And all other men played their parts so damn well with company of Janet Leigh. Ennio Morricone’s title score is added attraction.

If you love crime caper, this is an absolute essential one for you.