Considering that its been close to forgotten, TTWCTD was a pleasant and substantial surprise when I watched it a few years ago.This is far from a perfect film as it has several flaws. While the caper scenes involving central character Webster McGee's (Ryan O'Neal) are entertaining enough they're hardly groundbreaking and have been done better in other films. And as another reviewer said, the film probably could've done without the segment involving the arrogant chess expert Zukovsky (played by Austin Pendelton). While not without humour, in the context of the rest of the film it's played too broadly by Pendelton and doesn't really fit in.But there is much of interest in this film that make it well worth catching up with. The central romance between O'Neal and wealthy socialite Jackie (who gives him his chance to move into the upper echelons of society) played by Jacqueline Bisset isn't really that convincing, perhaps deliberately so. McGee's attraction to the vacuous and cold Laura only makes sense in the context of Jill Clayburgh's performance as McGee's ex-wife Jackie. In her brief on-screen time, Jackie comes across as a far more likable persona then the cold and chilly Laura (doubtless this is also because Bisset has always come across as a cold and unlikable personality for mine). But we can see in Jackie's one scene with Webster that she has tics and neuroses that remind Webster of his past and he has moved on with someone far more frivolous and insubstantial.But the really fascinating part of the film is the relationship between McGee and the insurance investigator Dave Riley. If this film were made today, Riley would most likely be portrayed as a harried, bumbling 'loser' with McGee (and the filmmakers) regularly mocking his failure to catch him at every turn.But TTWCTD does something highly unusual and daring. It has McGee display immense sympathy and empathy for Riley even as he's doing his best to catch him. Why? Because he knows that he was just like him previously - someone stuck in a dead-end job trying to do their best but feeling immensely dissatisfied about their life and feeling helpless to do anything about it.It's this relationship which is the real strength of the film, helped especially by Oates' marvellous performance as Riley and helps it stay in the memory long after one has finished watching it.And while it has its detractors, I also found Henry Mancini's music score very pleasing on the ear.

Ryan O'Neal gives one of his better, looser performances in this crime-caper, a handsome comedy-drama involving a computer programmer-turned-jewel thief planning a major heist. Warren Oates is the insurance investigator in dogged pursuit, Jacqueline Bisset (at her most lovely) plays a love-interest in on the action, Austin Pendleton is very funny as a nerdy chess pro, and wonderfully blithe Jill Clayburgh makes a big impression in the minor role of O'Neal's ex-wife. Engaging fluff with tongue wryly in cheek, well-directed by Bud Yorkin. Fine non-think entertainment for cable-watchers, yet this did seem a little flat when it played in theaters. **1/2 from ****

When Ryan O'Neal was in his prime, he dedicated and concentrated what acting talent he had to each endeavor he was involved in. His performance in "The Thief Who Came to Dinner" (1973) reflects that mature professionalism. He is especially generous with his co-stars here: Jacqueline Bisset, Charles Cioffi, Ned Beatty, and one of the truly great character-actors of all time, Warren Oates.The story is agreeable enough: Computer employee Mr. Straight abruptly quits his job and goes in for a stylish life of crime as a jewel-thief in, of all places, Houston, Texas.Walter Hill authored this script before beginning his own directorial career in 1975 with "Hard Times." Hill's work here takes on a slightly more ironic tone than the stone-cold serious nature of his other noteworthy 1970's accomplishments ("The Driver," "The Warriors," the screenplay for Peckinpah's "The Getaway"). But when Hill works tongue-in-cheek, as in parts of "The Long Riders" and all of "48 Hours," the results can be crafty, diverting in a singular way. The jokes don't always work, but one can still appreciate the attempt, and understand the intelligence at work behind the small jabs at comedy.What's missing here is a director--or at least a director competent enough to bring out the suspenseful element. Here, Bud Yorkin, completely falls down on the job. Yorkin, known primarily for his association with Norman Lear in his "All In The Family" heyday, here, displays his pedestrian talent for setting up various visual gags. In almost all cases, however, there is really no payoff. Where the film clearly calls for a howl of laughter, there is only a chuckle. Yorkin's experience in sit-com does achieve some TV-style levity, but he's clearly not a man with that special, distinguishable "cinema" eye that marks all great directors.Not that "The Thief Who Came..." needed a great genius behind the camera. It's just that some style, some flourish, even when not really needed, even just a hint of self-gratuitous "artiness" would have added some much-needed gloss. In short, this movie should have been a great deal better than it turned out.Philip Lathrop photographed, using the same murky blues and greens that he would later employ in Peckinpah's "The Killer Elite" (1975).

In 1973, the best chess programs running on the fastest supercomputers could barely play a passable game of chess, much less challenge a master level player such as the Austin Pendleton character would be (newspaper chess columnist for the Houston Chronicle).