***This Review Contains Spoilers***
Topkapi is one of those movies in which it is fun to look in the background at the colourful array of gadgets and gizmos. The film’s sets are a thing of beauty, full of beautiful, understated colours. This is the kind of movie to watch to watch on a hot summer’s day, or to escape the winter blues. The movie was filmed on location and acts like a time capsules for 1960’s Turkey and Greece, and capturing in a documentary like for the nitty, gritty street corners of Istanbul.
The production code was all but gone in 1964, thus the movie is able to explain and able to show in detail how they are able to commit their crime with explanations of the security system in place and how to bypass them, as well as their undercover scheme and the heist plan; I just delight in that kind of exposition. There were the days before security cameras, therefore they aren’t an obstacle to get around. I also imagine they probably could have chosen to have the criminals get away scot free if they had desired.
Peter Ustinov steals the show, in one of those performances which brings me levels of respect towards an actor playing a loveable sucker and the most unconvincing conman who can’t fool anyone to save his life. Oh the other hand I’ve heard reviewers criticise the casting of a 44 year old Melina Mercouri as a flirt who is not very attractive, I disagree. I find it’s an interesting character dynamic to have a somewhat maniacal nymphomaniac who isn’t particularly attractive yet has a lover who appears to legitimately sees something in her.
Topkapi may have the best heist sequence I’ve seen in a film. By this point in the film I’ve already attached a strong emotional interest in these characters, but during the heist itself the characters played by Ustinov and Maximillian Schell develop an unexpected emotional bond which raises the stakes higher than they are. With a clumsy fool who is afraid of heights, a lighthouse being controlled from afar by other operatives and precise rope movements to moving an entire glass enclosure, I’m left with that glorious feeling of clenching your hands when something almost goes wrong.