A clever, undeniably entertaining romp starring Peter Ustinov as a career embezzler with his sights set on a US conglomerate in London. He's abetted by foxy (and deceptively sharp) Maggie Smith and threatened with exposure by jealous company man Bob Newhart. This is a heist film with a lot of brains. Ustinov is exceptional as is Smith and Newhart is quite funny. The real surprise is Karl Malden, as the pill popping "executive vice-president." Malden has seldom been so loose. Cesar Romero and Robert Morley pop up in some funny cameos. The excellent music score is by Laurie Johnson. Eric Till's direction is brisk and the script by Ustinov and Ira Wallach is first-rate & very smart. A swinging good time!

It's about an embezzler, Peter Ustinov, who infiltrates a British company, Texa-Conn or something like that, posing as a computer whiz and security expert. He secretly learns to hack into the computer, while gathering the admiration of his boss, Karl Malden, the enmity of his office rival, Bob Newhart, and the love of his inept secretary, Maggie Smith.Some of the business details were a little murky to these non-business-oriented eyes but they're believable enough and I got the general idea. Ustinov, the peculating Peter, establishes phony businesses in Paris, Rome, and Stuttgart, and uses Texa-Conn's computer to send all kinds of money to these ersatz establishments. The overseas companies, of course, consist of nothing more than himself, Ustinov, and the addresses are an abandoned artist's loft in Paris, a barber shop in Rome, and a bakery in Germany. He simply visits them to collect the checks he's sent himself.I didn't think I'd like it for the first few minutes because it seemed rather on the slow side. I was expecting something with a faster tempo and more outrage, along the lines of "The Pink Panther" or "The Lavender Hill Gang." But this film insinuates itself into your good graces as you come to appreciate the understated humor in the plot, the characterizations, and the dialog.Probably it would be a bad idea to give away too many of the relatively subtle gags but here are some examples of the more noticeable.Ustinov to Secretary Smith: "Let me have the assets of these companies." Smith: "Assets? What are they?" Ustinov: "Little female donkeys." Now, nothing is made of this little exchange. There's a quick cut and no delay for any laughter, which is appropriate because one's reaction is more likely to be a smile than a laugh.Ustinov searches out that crummy loft in Paris. It's covered with cobwebs. Bricks are strewn around and a couple of the former occupant's paintings have been left behind. The landlord doesn't speak English and Ustinov knows no French. Ustinov points to a child-like painting of a nude woman and chuckles, "Ah. A fam fye-tal, eh?" Landlord chuckles too, replies: "Vous le prenez pour une anee?" Ustinov: "Oh -- ANNIE, so that's her name!" Landlord: "Oui?" Ustinov: "Entente cordiale!" (Mes amis, if I got those genders wrong, je m'excuse.) Bob Newhart as Willard Gnatpole (!) has the hots for Maggie Smith and is supposed to be driving her home but tells her he's taking "the scenic route." There is an immediate sequence of suggestive traffic signs. "Caution." "Lay-By." "Give Way." "Yield." Ending with the imperious "STOP/CHILDREN." There's another montage when Ustinov's scheme is about to be discovered by the board of directors -- blurry rooftops, police cars, a farewell embrace from Maggie, ending with a sign: PRISON, Wormwood Scrubs.Well, maybe one more. I still can't get over Malden as the boss, declaring decisively, "I never agonize over decisions," then gulping a handful of pills and washing them down with a glass of water.The acting is unarguably fine. It's Bob Newhart's best role, for instance. Not that he had that many, and not that his range wasn't limited, but he's perfect in this part. The musical score by Laurie Johnson obviously had a good deal of effort put into it. She seems to have written a brief concerto for flute. Ustinov's passion is music and his overseas establishments are headed by false names like Claude Debussy and Giacconino Rossini. Stuttgart's phony president is somebody named Schmidt, and he's an anomalous clinker. Maggi Smith is pretty, sexy, bourgeois, and turns out to be not nearly so dumb as she seems.Delightful, in its own quiet way, but don't expect comic fireworks.

Co-writer and leading actor Peter Ustinov has never been more ingratiating and wily (and handsome) than he is here playing a paroled ex-con who is an expert with numbers; he studies up on the burgeoning computers field and gets a job with a firm that, once he cracks the main code, will allow him to embezzle his way into a million pounds. Although the plot set-up is both cheeky and creaky (partly because we've been in this territory before), Ustinov's nonchalant genius parlays itself into a wonderful character; never depraved or insulting, he seems to catch himself off-guard with his successes, of which each is followed by another in the actor's repertoire of funny faces. The direction is hectic and perfunctory, and the editing is nervous, but there are some lovely scenes such as when Ustinov is invited up to ex-secretary Maggie Smith's flat and begins playing beautiful piano (she reciprocates with a duetting flute in the picture's finest moment). Once the mechanisms of the story have unfolded, there isn't much point going on, though the film has several more scenes which are upbeat but unessential. As Ustinov's boss, Karl Malden modulates (somewhat) his irascible nature, but Bob Newhart's nerdy associate is the proverbial egghead and schnook. Smith's Cockney working girl is fun until she marries Ustinov, which is just about the time the movie starts darting about, looking for a finish line. **1/2 from ****

"Hot Millions" is a delightful comedy that is made even better by the presence of the marvelous cast assembled for it. The movie is a tribute to the genius of Peter Ustinov, who wrote the screen play and appears as the key figure of an enterprising embezzler. The movie, directed by Eric Till, doesn't show signs of having dated as terribly, as some others from that period.At the center of the action is a friendly man, Marcus Pendleton, who, before being released from prison, fixes the income tax forms for the warden, who is amazed of the refund he is owed by the government. Marcus, who is a genius at numbers, sees opportunities where others wouldn't. He starts working for a firm that uses the latest computer for its accounting, but Pendleton is a resourceful man who finds a way to take advantage of the system and establishes different phony accounts in different parts of the continent.Marcus is assigned a secretary, who also happens to have a flat in his building. The inept Patty is seen working as a bus fare taker who manages to make a mess of everything. How she lands a job as a secretary is beyond comprehension, but things are never the same in the office when the creepy Willard Gnatpole decides to go after her, but have no fear, Patty's heart belongs to Marcus, who is an accomplished pianist and she is a flutist and they make beautiful music together.The best thing in the film is Peter Ustinov. He clearly understood how Marcus should be played and runs away with the film. Mr. Ustinov gives an assured account of the embezzler. The excellent Maggie Smith is also at her best with her take on Patty, the kind woman who adores Marcus and who proves to be a genius herself when it comes to investing the money she finds in Marcus' pockets.Karl Malden is perfect as the American in charge of the corporation. Bob Newhart also appears as Gnatpole, the man who desires Patty, but can't get her to reciprocate. The marvelous Robert Morley is seen as Caesar Smith, whose identity Marcus has assumed. Cesar Romero appears also in a cameo role as an airport customs inspector."Hot Millions" will delight everyone looking for a fun time in the company of that unsavory, but charming character, Marcus Pendleton.