The Italian Job film review

certificate_12A

THE ITALIAN JOB

As the gold-laden coach teetered on the edge of the cliff, and Michael Caine turned to his anxious cohorts and whispered, "hang on a minute lads, I've got a great idea," who knew it would take 34 years to find out what it was? If ever a film was set up perfectly for a sequel it was the The Italian Job, but rather than picking up where things were left precariously balanced, the great idea turned out to be giving the 1969 version a complete makeover. And, unlikely as it seems, Caine's word were prophetic, with the result being a fast-paced action caper that does the name proud.

The three essential ingredients of Troy Kennedy Martin's story remain: namely the Minis, the gold and the traffic jam, but in all other respects the remake bears only a superficial resemblance to the original. Gone is the English connection, only Jason Statham as wheelman Handsome Rob provides a token link. Caine's role of Charlie Croker has gone to a more studious, though equally effective Mark Wahlberg, while Donald Sutherland plays the patriarchal figure of Bridger, once elegantly portrayed by Noël Coward. Although much has changed, director F. Gary Gray, who wasn't even born when Peter Collinson directed the first version, has faithfully captured the humour, energy and spirit of the original.

The Italian location has been switched from Turin to Venice, where Croker and his gang, consisting of safe-cracker Bridger, Handsome Rob, explosives expert Left Ear (Mos Def), computer whiz Lyle (Seth Green - in an update of Benny Hill's pervy nerd character) and Steve Frezelli (Edward Norton) inventively steal $35 million in gold bullion. After an exhilarating high-speed boat chase through Venice's canals, the group escapes only to be double-crossed by the callous Frezelli. When they finally track him down in Los Angeles, they recruit Bridger's safe-cracking daughter Stella (Charlize Theron) to help them recover the gold.

Screenwriters Donna and Wayne Powers keep things moving briskly, balancing the humorous banter of the gang with creative action sequences. The film's signature car chase involving three minis is choreographed with wit, verve and more than a passing nod to its inspiration. One comical feature is the frivolous introduction of each character along with the origins of their nicknames, including how Lyle insists on being called Napster after the file-sharing website.