The Italian Job Hd Mp4 Download
Download Formats: M4V, AVI, MTS, MKV, M2TS, 3GP, ASF
original title: The Italian Job
duration: 1h 39min
tags: This is the self preservation society
keywords: carchase, caper, mafia, 1960s, carmovie, goldtheft, capercomedy, heist, turinitaly, police, cliffhanger, italy, prison, gold, sewer, rooftop, bus, trafficjam, escape, minicooper, explosive, remade, dr
Charlie's got a 'Job' to do. Having just left prison, he finds one of his friends has attempted a high risk job in Italy right under the nose of the Mafia. Charlie's friend doesn't get very far so Charlie takes over the 'Job'. Using three Mini Coopers, a couple
of Jaguars and a bus, he hopes to bring Torino to a standstill, steal the Gold and escape. Comic caper movie about a plan to steal a gold shipment from the streets of Turin by creating a traffic jam. Troy Kennedy Martin, its scriptwriter, has described the
central significance of the mini cooper in Peter Collinson's cult heist movie. Perkily speeding through the streets of Turin, it represents the then New Britain: `laddish, self-confident and not taking itself too seriously'. The image of the weaving, dodging,
red white and blue cars is the film's abiding one. Outside of their use in the prolonged escape scenes, and several splendid comic moments elsewhere, it remains entertaining, even if surprisingly slight.
Often seen as a quintessential sixties' movie, The Italian Job' is more precisely a definition (or one definition) of Britishness as an optimistic nation at the height of a chic decade. In this atmosphere, pulling a job or a bird is practically a national duty. Robbery is considered by Croker and Bridger as a means to `help with the country's balance of payments'. The ultra-patriotic Mr Bridger (a splendidly aristocratic Noel Coward, his cell walls pasted with pictures of royalty) sees the job as much a matter of national pride, a means to demonstrate the efficiency of the British system of work, than a route to amass loot. Characteristically Bridger is more interested in studying balance of payment statistics than examining escape routes for his operatives who appropriately enough travel to their work' on the Free Enterprise 1.
The reference to football is significant and parallels with the sport are deliberate. Most obviously, the robbery is planned for the time of an England-Italy match maximising confusion and even,(as Bridger suggests at one point), possible help from their compatriots. Croker's men at one point assume the identity of a van full of fans, while the impromptu beer celebration in the back of the coach, after ditching the minis, is the team's victory drink. It is clear that the Italians, whether the police or the Mafia, are as much their opponents as the national team playing in the stadium. Back in prison, upon news of the triumph by his team', Bridger descends the stairs, like a penal Alf Ramsey, acknowledging the chants of England!' by celebrating fans.
Caine's cockney player is very much the main character of the film (a role apparently and amazingly originally offered to Robert Redford). The actor, who had earlier played the soliliquising womaniser Alfie in the 1966 film of the same name, reprises some elements of that character's optimism and assumptiveness. In the present film he is less of cynical loner, studiously subservient to his criminal employer, though still on the look out for a good thing both professionally and sexually. Like his more famous compatriot, James Bond, he drives an Aston Martin although quickly reduced to a bicycle and then a mini. The Mafia's cliff-side warning dents some of his self assurance, presumably also shaken by the roughing up from Bridger's men (although interestingly the beating is never referred to again, and leaves no physical marks.) Away from his boss he remains very much his own man, although his loyalty is never in doubt: `From now on we work as a team. Which means you all listen to me.' Crocker is always in control, never sentimental, being content to pack his girlfriend off with the minimum of ceremony at the airport. Emotion will slowly filter through Caine's screen persona. His watching of Beckermann's footage early on, to explain the big idea, anticipates Jack Carter's less dispassionate viewing of celluloid in Hodges' gangster film two years later.
Before the long, final chase ensues, the gang's Aston and two Jags are ceremoniously wasted by the Mafia. While making a simple point about the threat and power of the Italian underworld, the removal of competing' vehicles also reaffirms the status of the remaining minis. Ironically if the film has a weakness, it lies in the mini's prominence, which reduces tension during the last part of the film. The stunts remain eye-catching today (the notable roof top jump being filmed on the roof of the Fiat factory), but very often one is aware of watching a demonstration of the vehicle's versatility rather than any dramatic bid for freedom. In one scene filmed, later deleted from the release print, the minis and their Italian pursuers performed gracefully together on an ice rink choreographed to a waltz, slowing the action even further. That such a scene was considered, and filmed, gives an indication of how taken the makers had been with the car, and with the *means* rather than the *process* of urgent escape.
Another less satisfactory element of the plot is the disappearing Mafia. Initially presented as a formidable, organised force (as in their synchronised appearance on the hill side for instance), the Italian hoods are sidelined as events unfold, criminal impotents. Their absence from the finale seems odd. With or without the Cosa Nostra's malign shadow, the existing conclusion of the film has excited much comment. With its famous shot of the coach balanced out over the precipice, the gold sliding towards its back end, and Croker's closing `I've got a great idea..', it is a literal cliff hanger. The original script tailed off with the escape, and another twist in the tail was clearly needed. After some debate a studio executive added the existing close, which could easily have appeared lame, but in the event proves a satisfying conclusion. By leaving the coach and the viewer hanging, the film has it both ways: the crooks get away with it and yet they don't; a group of white British lads triumph in their cool minis, only to have their plans derailed by a careless black driver of their coach. If the film has been about the state of Britishness' at the time then the uncertainty of its conclusion anticipates, perhaps, the doubts and strife of the ensuing decades. THE Italian JOB is a well-made and entertaining caper film with great performances by Michael Caine and Noel Coward. Although there isn't a whole lot of pyrotechnics like the remake, this film makes up for that by being a lot of fun, and quite funny at times. Sure, there's a lack of character development for most of the members of the team, but most of them have a little moment or two here and there. Arguably, the best part of the movie outside of the performances and humor is the climactic Mini Cooper chase through the streets of Turin, followed by a (SPOILER!) literal cliffhanger of an ending, which I think works better than the happy ending in the remake. Each one has their strengths, but I think the original edges the remake out by a small margin. Bottom line: it's a really fun film to pass two hours with. In 2008, a contest was held to find a solution, and the winning entry was: Break and remove two large side windows just aft of the pivot point and let the glass fall outside to lose its weight. Break two windows over the two front axles; keep the broken glass on board to keep its weight for balance. Let a man out on a rope through the front broken windows (not to rest his weight on the ground) and he deflates all the bus's front tyres, to reduce the bus's rocking movement about its pivot point. Drain the fuel tank, which was aft of the pivot point; that changes the balance enough to let a man get out and gather heavy rocks to load the front of the bus. Unload the bus. Wait until a suitable vehicle passes on the road, and hijack it and carry the gold away in it.
It has been pointed out that the petrol tank of that model of bus is at the back, so allowing the engine to run in neutral will burn the petrol off, reducing the weight on the back part and rebalancing the bus back on the road. Yes, but it was not made, mainly because the film flopped in the United States. According to a "Making Of" documentary, in the sequel, helicopters would save the bus seen on the cliff at the end of the first film. The grateful gang would soon discover that it is the Mafia that has saved them, and the sequel would have been about stealing the gold bullion back from them. In interviews in 2003 and 2008, Michael Caine revealed that the ending would have had Croker "crawl up, switch on the engine and stay there for four hours until all the petrol runs out... The van bounces back up so we can all get out, but then the gold goes over." The bus containing the gold would crash at the bottom of the hill where the Mafia would pick it up. The sequel would then have Croker and his men trying to get it back. A novel showing a possible sequel has just been published which starts with a bus balanced on the edge of a cliff. Don't Fear The Reaper is written by Garry Kay and is available online from Lulu.com.
An alternative source gives a sequel involving the British's eternal enemy - The French. The gold falls down the mountain and is recovered by French gangsters. Instead of mini coopers, there would be battles between Croker's team and the French involving hovercrafts (Britain's other great cool vehicle of the 60s)
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