It won't take long into watching "Once a Thief" for viewers to say to themselves, "I've seen this all before." Who hasn't seen this same basic story about a struggling ex-criminal pushed by circumstances to rejoin his old gang and pull off one last job? It's been done many times in movies and television shows since this movie was made. In fact, I am confident it had been done many times before this movie was made. You'll be able to predict every major plot turn long before it happens.So the question comes up as to whether the movie manages to bring in some fresh elements. Well, there is the fact that the ex-criminal, played by Alain Delon, is not totally sympathetic. That's different, though he does enough negative stuff that at times you'll wonder why the movie thinks we should be interested in him. The most interesting thing about the movie, however, is the direction by Ralph Nelson. Though the movie is set in San Francisco, the movie has a strong European style and feel throughout. Possibly this was due to the influence of the French producers in this American/French co-production. This different style does give the movie some interest... but ultimately, not enough to earn it a recommendation.

The casting for this film was pretty weird. French actor Alain Delon plays an Italian and Jack Palance(!) plays his brother! The two look and sound nothing like brothers and I suppose they chose Delon since apparently Sidney Poitier was not available!! Delon is an ex-con who is married to lovely but often hysterical Ann-Margaret. They have a young daughter but are struggling economically--partly because it's hard for a hot-headed idiot like Delon to keep a job. In fact, there are just way too many scenes where he barks and gesticulates and broods so much you'd swear he's off his meds. Because he acts like a moody jerk through much of the film it's hardly possible to care about him--and this is a major problem with the film. Most caper films, to a degree, you like the crooks and even want to see them get away with the crime---such as in good caper films like "Rififi" or "Bob le Flambeur". With this film, however, you just want it to end. There's more to the plot and there's a parole officer played by Van Heflin, but frankly...who cares?! In addition to Delon's acting, while Ann-Margaret is also a decent actress, you might not think so seeing this film. In particular, pay attention to her at about the 53 and 86 minute marks as she goes off on a bizarre tirade that just seems way overdone. Where was the director? Did they actually WANT this sort of terrible performance?! And, for that matter, who wrote this dialog?! After all, even a film novice might find that scene extremely silly.So what did I like about this film? Well, not much, since I'd seen so many better and less shrill caper films. However, the blond psycho in the gang was a pretty cool character and Palance wasn't bad at all--and was good as a heavy throughout the 50s and 60s. These, however, are not enough to make the movie worth seeing.

The beginning of this picture, from the jazzy opening credits and into the next reel or so, is rather engaging. At its best, it is stylish in that French New Wave Meets American Beatnik kind of way, frequent in popular culture of the time. The dialogue is peppered with hepcat slang and frank references to narcoticsand so-called "deviant" sexuality. This is daring stuff for a 1965 release from MGM. Beautiful widescreen black-and-white photography from Robert Burks,who had by then done several Hitchcock films. The steady hand of directorRalph Nelson keeps the picture moving, often punctuated by moments ofunexpected brutality. PC this is not! The story itself is popcorn stuff, perhaps best not explored too deeply, but a great cast helps to enliven the material. Bytoday's standards, the character played by Ann-Margret would never bedepicted in such a fashion as seen here. (At one point, she apologizes afterbeing slapped around.) But hey, she's under the seductive spell of Alain Delon, a Frenchman playing an Italian. No, it's not "The Asphalt Jungle". Neither is it a total waste of time, as it's often described as being. It's a good example of a mid- '60s studio potboiler, capably and professionally (and sometimes artfully)handled by all parties concerned. If your bag lies elsewhere, go on and fetch it, then. I'm rewinding the tape so I'll be ready to watch "Once a Thief" again soon.

I am living in France now and have seen repeats of this film on TV. Alain Delon and Van Heflin keep getting better and better each time I see the film. Ann Margaret is soooooo bad and gets worse and worse. The little girl is obnoxious. It is all predictable but Delon and Heflin make it worthwhile. I wish I had seen the film in the sixties. It would have been interesting comparing my reactions to the film in different time periods.