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  • This is actually my favorite Peter Sellers film, and my favorite Neil Simon script, though I suppose I'm in the minority there. I just love it to pieces, though, and re-watch it at least once a year. Sellers as thief in prison, as devoted son and stern brother, as American tourist, and especially as a Felliniesque film director--it's just terrific stuff, he is so pricelessly funny, and yet there is somehow a little less of him and more of a script than there is in the Blake Edwards films, which is why I think I like it better. And I do think Victor Mature is marvelous in it too, with a touching wistfulness underneath all the vain posturing. Ditto the chief of police. The sets are fabulous too, and so is the Bacharach music, much of it deliciously cheerfully Italianate but also the wonderfully catchy main title sung by Sellers himself with the Hollies (that would be Graham Nash later of Crosby, Stills and Nash).

    There are certain things about the film that remind me of The Producers, though the comedy style is not quite the same. But anyway, not to be missed!
  • "Do you know how many good kisser are starving in Italy?" That's just one of the excellent lines from this underrated movie. The credits alone sound like the plot for a waco 60s jet-set movie: Vittorio De Sica directing a Neil Simon script? You've got to be kidding. True, the film sags and lags at parts, but between Peter Sellers, Victor Mature (truly awesome here), and the mouth-wateringly hummana-hummana Brit Ekland, the movie has enough going for it that it remains a favorite. And that incredible Burt Bacharach score! I swear that if you're depressed and listen to this music (available on CD as I write this), you'll be cured for life!
  • This much forgotten film has kept me in stitches for years. My brother and I quoted lines from it for years on appropriate occasions. What a surprise to find that Victor Mature was very funny. You have to see it to believe it.

    In this clever little film Neil Simon crafted one of his greatest screenplays and the actors translated it into one of the most humorous off-beat comedies of the 60's. It is hilarious even by Coen brother and Zucker brother standards.

    Essentially this film is a study in human ego:

    Aldo Vanucci (Peter Sellers) wants to be seen as the great master thief.

    His sister (Britt Ekland) wants to be a film actress (pronounced "film akdress")

    Aldo's mother wants to be the mother of famous children ("my son the director" "My daughter the akdress")

    The Agent (Martin Balsam) is proud that he can see through everybody--save himself.

    Tony Powell, famous film star, (Victor Mature) is an aging actor that won't accept that he's an aging actor. He wants to play young man roles even though he is in his 60's.

    The Police chief wants to say "Gooda Morning" in the movie so he'll get his "Warhol allotment."

    The whole town of Savalio wants: "To be inna movie."

    This film is a scream. If you watch this and don't simply crack up, its obvious that farce is not your fare. It's okay--farcical humor isn't for everyone. CAVEAT: If you like this check out "The Wrong Box."

    At any rate, the finale of this film (I won't give it away) surely made Fellini blush--he is so well lampooned by Simon. This film hands out the ultimate insult to the avant guard film crowd of the 60's. It has the courage to insinuate: "We don't get your films and that doesn't make you smarter than us!"
  • RufusT28 April 1999
    While certainly not one of his greatest works, Peter Sellers nonetheless shines as Aldo Vanucci, aka "The Fox". He underplays the role in his early scenes, as the scheming criminal, but pulls out all the stops when the character hits upon the idea to masquerade as "Fredrico Fabrizi" the great neo-realist. Much like the scheme inspires Vanucci, the disguise inspires Sellers, and his wildly inventive genius kicks into high gear.

    Equally funny is Victor Mature as aging, past-his-prime movie idol Tony Powell. It's a well-written part (by Neil Simon), but Mature really brings him to life, and rather than merely making him a buffoon, which would have been easy to do, he gives him a quality of sympathy; deep down, despite all his posturing and pompousness, Powell probably knows he's on the decline.

    All-in-all, a very funny film, with a truly inspired Sellers performance, even if it's not his best. Even a little really good Sellers goes a long way. He's sadly missed.
  • When I found this film I had never heard of it. In glancing at its box I saw "Peter Sellers" and "Vittorio De Sica." Just those two names prompted me to take it home.

    I was quite happy with what this film is.

    The story is solid, and is what keeps this film running. Sellers does a good job, but I still enjoy his Pink Panther role, as well as his roles in Dr. Sstrangelove. Nevertheless, he does well as an Italian crook and "flamboyant" film director.

    The comedy isn't too slapstick, it is smart. There are sight gags, there are setups and punchlines, there are one-liners, not to mention spoofed-themes, and pokes at other Italian film directors/producers.

    I didn't exactly know what I would get with a De Sica comedy. He did a fine job, though. "Federico Fabrizi" sometimes looks and seems to be just like Federico Fellini. There are some moments where Fellini's 8 1/2 comes to mind.

    A critic said that he didn't understand the ending. At first, I didn't. Think, though! Think! This is De Sica!

    Take a look at this film, it's a good one.
  • As a comedy for an American audience, After the Fox is a pleasant diversion, especially the classic performance by Victor Mature as the aging Hollywood hunk who can't accept reality. But for any person who has spent any time in Italy--whether in an urban center such as Rome or the Italian equivalent of Mayberry--this movie is hilarious. The writers and performers have captured the essence of the Italian personality as well as the spirit of the abrasive American personality. Since this film was shot entirely on location, we get a real sense of Italy as a place. Peter Sellers posing as the self-important filmmaker Federico Fabrizi with Fellini black-rimmed glasses and all gives an excellent performance. I love this movie.
  • Peter Sellers is a real enigma. During his career, he made many brilliant films with amazing characterizations (such as DR. STRANGELOVE, BEING THERE, THE MOUSE THAT ROARED and many others), but he also did a lot of amazingly limp films that he practically slept through (THE FIENDISH PLOT OF FU MANCHU and THE PRISONER OF ZENDA). AFTER THE FOX is unusual in that it isn't exactly brilliant but still is very good. As far as Sellers' performance goes, he did a lovely Italian accent and his character was pretty credible, though despite being the star of the film, he wasn't the standout performer (I think this was actually Victor Mature--doing a wonderful self-parody).

    The Fox is a master criminal who escapes from prison rather easily in order to keep his sister out of trouble. At first, he thinks she's become a prostitute, but later he finds she's become (horrors) and actress!! Interestingly enough, his sister is played by Sellers' real-life wife, Britt Ekland and his love interest in the film was played by an unknown (but beautiful) Italian. Once out of prison, he learns about a big caper from Akim Tamiroff--smuggling in millions of dollars worth of gold into Italy. So, inspired by his sister's desire to be a movie star, he decides to make a fake film and use this as the cover to smuggle in the gold--and this is how Victor Mature comes into the film. He plays a parody of himself but is very vain and over the hill--telling everyone he's in his thirties even though he's pushing 60! I loved how he insisted he was so young when it was so obvious he wasn't--especially in the scene where Britt throws herself at him and runs her fingers through his hair--only to have them stained black by hair dye. Plus, he was so full of himself that he was gullible enough to believe he was making an art film when in fact Sellers and his gang obviously had no idea what they were doing.

    By the way, how Sellers got all the film equipment was pretty interesting. As the film was directed by Vittorio DeSica, he himself appeared in a small scene. He and his crew were filming some Egyptian epic when suddenly the wind machines turned on at full blast. When they were finally turned off, all the equipment--even DeSica's platform and cameras--were missing--stolen by Sellers' gang.

    Throughout the film there were many cute moments, but also towards the end the film did lag a bit and the ending seemed to be a bit of a letdown. I especially became bored with the chase scene and the ensuing courtroom scene. Still, it was original and moderately funny with some excellent performances.

    By the way, the film clip we see of a younger Victor Mature in an older black and white film was from EASY LIVING--one of Mature's better films. I suggest you try to find it.
  • Bobby-2722 October 1998
    Without a doubt Peter Sellers is the finest of them all, But Victor Mature steals this show. Gina Romantica and cast are so entertaining. I love this movie, we lost Peter too soon. We need him now, what a loss.
  • De Sica's very good film.He make fun of all the film industry,film critics and neo-realism.He makes fun of himself too.Very well written script form Neil Simon with help of old friend Zavattini.This film is close to the word "perfect". This film makes me to watch it at 3:00 am which I have an important exam at 9 am on that day.
  • For some reason, this film failed on it's release in 1966, and coincidentally marked the first in a long line of cinema flops for the star Peter Sellers, but now, on viewing it on DVD, I think it stands very comfortably amongst his more recognised work. The plot, written by Neil Simon is brilliantly fast-paced, the comedy lies everywhere, and there's terrific support from Maurice Denham, Britt Ekland, and of course Victor Mature sending up himself as a age-defying crummy actor. Why it flopped, heaven knows. Under the masterful direction of Vittorio de Sica, this map-cap farce makes great viewing, although it does take a bit to get the momentum up. Overall, very enjoyable.
  • Warning: Spoilers
    I recall this film when I saw it once on television in the early 1970s. While I see it has gotten many favorable write-ups on this thread, I have to admit it disappointed me. It was that long, long (too long) series of third rate films that Sellers got involved in after his peak in the middle 1960s, when only an occasional film ("The Wrong Box", "There's A Girl In My Soup") reminded people of the comic and acting genius he was. In my memory the only good performance was that of Victor Mature as the aging actor, who is best recalled by the public in that he is always in a role wearing a trench coat. The highpoint of Mature's performance is when he, Balsam, and several others are stuck in a car that is stalled on a railway track, with a train bearing down on it - and Mature is screaming the most. Finally the train passes them and they are safe. Everyone is just silent and sweaty from their near-thing ordeal, and Mature suddenly smiles and acts as though he could have told them not to worry.

    But the best line I remember deals with Sellers and fellow conman Akim Tamiroff. Sellers has to introduce Tamiroff (named "Mr. Okra") to Mature, Balsam, Britt Eckland, and the others on the film set. He says, with great formality, "This is Mr. Okra...inventor of "Okrascope"." I am still waiting to see what "Okrascope" was.
  • Warning: Spoilers
    This is one of those movies that, even though it's entertaining, I have to assume the main reason it was made was simply the availability of these particular stars in this particular place. Like the original "Ocean's Eleven" which was basically made because Sinatra and the "rat pack" were available in Las Vegas on particular dates, this film feels basically like an extended Italian vacation for Peter Sellers, his then-wife Britt Ekland, and graying American movie star Victor Mature (who essentially makes fun of himself in the film). There's very little of consequence in the film, and it's all very predictable plot-wise, but Sellers manages to salvage more than one scene with his zany improvisations on Neil Simon's funny story.

    Sellers plays an Italian criminal mastermind who frees himself from prison and sets about importing stolen Egyptian gold by impersonating a new-wave movie director. "If only I could steal enough money to become an honest man," he laments as he frets about his movie-obsessed sister, played by Ekland.

    There are just a handful of really memorable scenes here that basically make the movie, and all but one (with Ekland unknowingly smearing Mature's hair dye all over her face) primarily involve Sellers. First Sellers bursts into Mature's hotel suite in the gregarious manner of an Italian film magnate, kissing Mature on both cheeks like old friends and thoroughly annoying the agent played by Martin Balsam. In another, Sellers convinces the local constable Lando Buzzanca to let them operate without a permit, and ends up with the guy eating out of his hand ("good morning!") while he tears his office apart.

    At times when Sellers is playing the director, you get a strong feeling that he's off the script and he's purposely skewering particular directors. It's all a bit weird, because the contrived film Sellers is making inside the film doesn't feel all that much more arbitrary or manufactured than the one we're actually watching.
  • This late 60's comic bumbling, silly fable with the Peter Sellers and his then (or soon-to-be wife) Britt Ekland AND Victor Mature..and Martin Balsam (OSCAR winner before this - who was also in ON THE WATERFRONT, PSYCHO, and BREAKFAST AT TIFFANY'S) is a comic easy fable about egos, movie-making and just "you know" 60's fun and I'm sure it bombed. Such a pity. This flick is a laugh-fest in the easiest fun way in 1966 that only an idiot COULDN'T ENJOY, unless he or she hates Italians OR Peter Sellers (playing an Italian). Joyeous stuff!

    Not slapstick, not bathroom or mother-in-laws or Bob Hope stupid humor, this has a PLOT and conveys, so subtley, the joy of a crime-thriller while you're catching up to the maniacal silly plot. The acting is beyond talking about Oscar-worthy stuff. It's totally believable because of the story (AND Sellers sings the opening credits title song). It's quite unique and dedicated to 60's fun!
  • Warning: Spoilers
    'After The Fox' probably looks funnier now than when it was first released in 1966. Peter Sellers plays 'Aldo Vanucci', Italy's top criminal mastermind - known as 'The Fox' - and also a master of disguise. When his cronies visit him in jail, he gives them food and magazines. Hearing that his sister Gina ( Britt Ekland, Sellers' wife at the time ) is walking the streets of Rome, he is furious and escapes by switching places with a psychiatrist. It turns out Gina is only making a movie. He wants her to go back to school, but she is determined to become a movie star. She has changed her surname to the more exotic sounding 'Romantica'. A daring bullion robbery has been pulled off in Cairo, and Aldo must help the thieves get the gold into Italy. He decides to trick the townspeople of Sevalio into thinking they are taking part in a movie, and to this end manages to secure the services of fading Hollywood matinée idol 'Tony Powell' ( Victor Mature )...

    At times, 'Fox' feels like an Italian version of one of Sellers' earlier British comedies, such as 'Two Way Stretch' and 'The Wrong Arm Of The Law'. Aldo shares many similarities to 'Dodger Lane' and 'Pearly Gates'. Neil Simon's script is not bad - though not among his better efforts - but it needed a director of the calibre of Blake Edwards to make it work. Instead we have Vittorio De Sica, and his heart is just not in it. As 'Vanucci', Sellers is okay, but its when he gets to impersonate eccentric director 'Frederico Fabrizi' ( pointing to his head, he says to Tony: "In here is my script!" ) that the film really starts to becomes funny, with some amusing jibes at the expense of the neo-realism school of cinema ( of which De Sica was a leading exponent ). Giving Sellers competition in the comedy department is Mature, with a highly amusing self parody as a film star who refuses to admit he is over the hill. When he brags to his agent 'Harry' that he is a youthful forty, the man replies: "But your son is thirty-five!".

    Another asset is the bouncy Burt Bacharach soundtrack. The catchy theme song was performed by Sellers ( as 'Vanucci' ) and 'The Hollies'. 'Fox' was not a big commercial success, but now seems a decent way to kill 90 minutes, even if it does end with a somewhat uninspired car chase.

    The best moment comes in the final scene. Vanucci is on trial ( along with the townspeople of Sevalio ). The film is screened to the jury. It is disjointed, jumpy, with jerky camera work ( just like every major film on release these days ). When it is over, everyone who took part looks embarrassed. A wild-eyed critic, however, proclaims it a masterpiece!
  • Jailed in an Italian prison, the Fox--one of the last of the world's master criminals--escapes from his cell upon hearing of his sister's escapades; he gets the bright idea of going after a stolen fortune in gold bars recently smuggled out of Cairo, plotting to intercept the shipment at sea while pretending to be a film director making a neo-realist love story in an Italian village. Screenwriter Neil Simon and director Vittorio De Sica poking fun at European movie-making, with Peter Sellers in the disguise-laden lead. Overlong comedy should work, and intermittently it does, however De Sica's pacing is leaden and Simon tries working too much into the scenario (which culminates with a slapstick car chase followed by a pseudo-serious courtroom finale). Sprinkled with funny asides, the picture is utterly inoffensive and innocuous...and it should have been much better. Burt Bacharach composed the forgettable score (his and Hal David's title song performed by The Hollies with Peter Sellers is easily their weakest). ** from ****
  • After The Fox finds Peter Sellers and his then bride Britt Eklund working in Italy for director Vittorio DeSica. In it Sellers plays a criminal who if he's not quite a master at the crime trade, at least he's not a bumbler like Inspector Clousseau. The laughs Sellers gets in After The Fox come at the expense of others.

    A robbery of gold bullion has occurred in Egypt and Interpol is on the case. As we learned in The Lavender Hill Mob, gold bullion is not that easy to transport. Taking on the job of getting it into Europe after he's broken out of jail once again is Peter Sellers.

    How to do it? Right out in the open during the course of shooting a movie about a heist. Sellers pretends to be a director and gets the a whole coastal village in on his scheme. After all, who doesn't want to be in the movies?

    Part of Sellers plan is to convince over the hill American movie actor Victor Mature to star in his film. After The Fox was Mature's first film in five years, at this point in his life he worked when he felt like it. Mature was one of the least vain of all film stars, how many will say that he's no actor and have 63 pictures to prove it. He looked like he was having a ball satirizing himself and several of his colleagues still pretending they're leading men.

    Britt Eklund is Seller's girl friend and Akim Tamiroff is the guy who pulled off the gold heist. Maria Gracia Buccella has an unforgettable part as Tamiroff's sister and 'the bikini trap'. This woman in a bikini makes Sophia Loren look flat-chested. Martin Balsam also has a good role as Mature's exasperated agent.

    To see what happens if the budding film director can really smuggle some gold into Italy you have to see After The Fox. It's one of Peter Sellers best films and you've got to love Victor Mature for what he does with his own image here.
  • "After the Fox" is a fine and entertaining comedy with Peter Sellers at his best right after a couple of "Pink Panther" titles, as a master thief who finds the way through which the police will guard his millionaire robbery while he is accomplishing it.

    A good supporting cast with Akim Tamiroff, Martin Balsam and pretty Britt Ekland is there too. But what really surprised me is Victor Mature's convincing and funny performance as an aging star who refuses to accept the pass of time and his inevitable entering into more adult roles. I always had Mature has a just standard performer who couldn't help overacting and just helped in his career by his somehow interesting screen presence. In a likable character he does very good in this picture and is one of the highlights of the film.

    Good for Victor in one of his last roles!
  • I agree with the other reviewers that this is a forgotten gem. Sellers' portrayal of Italian thief Vanucci is as funny as his Clousseau! It satirizes peoples' obsession with film beautifully from wannabe actors to starstruck townspeople to film critics. (IMDbers take note!) Mike Myers gave this film a nod when he used one of its bits in an Austin Powers movie: instead of the contact speaking while Sellers kisses his beautiful sister, Austin is preoccupied with Nathan Lane!

    Victor Mature gets laughs as the aging actor. The scene in which Ekland runs her fingers through his hair, and they end up covered in black dye is just one of the film's funny gags. I first saw this movie in the early 80s, and I thought of President Reagan!

    Neil Simon delivers good writing as usual, and The Hollies and Burt Bacharach make some good music!

    If The Life and Death of Peter Sellers is to be believed, Sellers and Ekland were having a miserable time during filming, which makes it more remarkable that this film works.
  • Warning: Spoilers
    This movie is two good things at the same time—first, it's a Peter Sellers comedy, which is wonderful enough in itself. Here he plays an Italian master criminal, with full Italian cinema schtick, first as a gangster, and then as a director. He conceives a scheme to smuggle gold stolen in Egypt by the befezzed Egyptian Okra (Akim Tamiroff, ready to play any sort of foreigner), under the cover of making a movie. To do so, he steals the production equipment from Vittorio de Sica, playing himself—as Moses walks into the desert, he cries, "More sand! More sand in the desert!" And then the production, in a tiny coastal village, is a breathtaking parody of neorealism, with all the villagers clamouring to play parts, the vagueness and phony existentialism of the director's posturing, and the cheekbones of the starstruck police chief (Lando Buzzanca). At the trial—because of course things go wrong—the prosecutor shows grotesque black & white footage, and a film critic leaps to his feet applauding, and is carried out of the courtroom crying out that it is a work of primitive genius. The story is by Neil Simon, the star turn is by Peter Sellers, but the parody is pure de Sica. And it startled me; I had no idea!
  • Peter Sellers's performance is better than excellent in this film, i'm wondering how can an englishman can behave like an italian (in this movie), an hindu(The Party) or a french (Pink Panther), without making any mistake. If you don't already know him english, you cannot guess it.

    So, Vittorio De Sica's aim is to make fun of Neo-realistic movies and especially Federico Fellini which is one the most important neo-realistic directors of the period. We can expose it by mentioning here the name of Federico Fabrizi, whom directing the film "Gold of Cairo" in After the Fox as Aldo Vanucci. The other enjoying thing about fun making of De Sica, is to put to the end of the movie a critic who evaluated Federico fabrizi's film as a masterpiece.
  • This movie is one of my favorite comedies. I see this movie at least once every year, and every time I see it, I can't restrain myself from laughing hysterically. If you haven't see this movie, do yourself a favor and buy it.
  • One of my favorite all-time comedies. The cinematic style, the '60's sophistication, the rustic Italian flavor, all create a perfect backdrop for Seller's genius. It's a wonderful, funny and timeless story told with humor and bravado, and self-indulgence here and there which keeps me smiling from beginning to end. It's one of those rare films where, at the end, I can admit I thoroughly enjoyed it, each and every time I see it.

    I suppose that those who did not like or "get" La Strada, would not like or "get" this film either, as I place it in that genre. I do see a similar theme, in that the protagonists make the people around them seem like idiots who only care about themselves, not realizing that they are idiots too. Only Peter Sellers could pull this off so perfectly, his style and timing so unique and inspiring. A must-see for anyone who loves theatre comedy.
  • trz195115 November 2011
    "The fox is out of the tree! Gooda morning! More sand in the desert! And so on. What a funny movie; it's one of those I have to watch every time it's on television and at least once a year on DVD. And don't fortget the CD soundtrack; it instantly puts me in a good mood thinking of Sevalio anda the incrediblya handsomea Tony Powella!

    I first saw this during Christmas break in high school, 1966 I think, and loved it then. I was always a Victor Mature fan, especially Demetrius and the Gladiators, Kiss of Death, but he takes the cake here. What a great job. Martin Balsam, too; in fact the whole cast was superb. A thoroughly enjoyable movie.
  • After the Fox (1966) is as hard to categorize or rate (in terms of number stars) as it might be to actually catch the animal in real life.

    After the Fox has an A+ list pedigree; it stars Peter Sellers (Dr. Strangelove), is directed by Vittoria De Sica (The Bicycle Thief), with the screenplay by Neil Simon (The Odd Couple) and music by Burt Bacharach (What's New Pussy Cat), with the title single by the Hollies (Long Cool Woman – in a Black Dress).

    After the Fox is not the best work for any of the members on the list above. It is somewhat slow to start and uneven. However, After the Fox has so many scenes and characters that are sensationally clever it would be a shame to avoid viewing.

    After the Fox is the first screenplay written by Simon and the setup and dialog in the restaurant negotiation scene is as good as any Simon and Sellers have been involved. There are many other scenes in After the Fox that take full advantage of Simon and Seller's artistic skills.

    Victor Mature (Samson and Delilah) plays the vain heavy Heavy – Tony Powell. The role is a parody of Mature's screen persona and he is brilliant. After the Fox smartly uses a love scene between Mature and Lizbeth Scott in Easy Living as part of the setup.

    Maria Grazia Bucella plays the "sister" of the bad guy - Okra. Bucella's beauty is so overwhelming, she commands virtually every scene in which she is involved. Also Bucella displays a wonderful ability to play dead-pan humor.

    Bond Girl Britt Ekland (The Man with the Golden Gun) plays Gina Vanucci/Romantica. She seems somewhat miscast. Ekland and Sellers were recently married and it is rumored Sellers insisted she be in the film as the lead actress.

    After the Fox seems to struggle in the sense that it is caught between trying to be a farce (stealing gold), slapstick comedy (police chases), parody of Italian Art house film (Sellers as Fabrucci/Fellini) and parody of Hollywood (Mature as Powell). Trying be all of those aspects is problematic. None-the-less, After the Fox is well worthy of a viewing.

    After the Fox is available at NetFlix via online streaming and the quality of the picture is very good.
  • Warning: Spoilers
    Whilst Hollywood has seemed to have had trouble,trying to make Christmas/New Years Day "event films" in a post-Lord of the Rings era (with the main exceptions being 2005s double bill of event films,with the first Narnia film,and King Kong fighting it out, lion v ape,and last years world conquering return of James Cameron,after thirteen years,with the sci-fi adventure epic Avatar.)

    In the meantime,Bollywood has been turning the end of the year "event film",into a unstoppable juggernaut,with such films as the Mermento-inspired ultra-violence revenge thriller in Gujini,a gathering of (almost) every living Bollywood legend,in the fun reincarnation film Om Shanti Om,and a shockingly stunning mix of extremely strong writing,good casting,and an amazingly fast paced feel (even at a running time of over two and a half hours) with 2009s 3 Idiots.

    Sadly,this great run got stopped in 2010.with the comedy "event" film Tees Maar Khan,whose characters were just that little bit too annoying for most audience members to be entertained by.When I started reading up about Tees Maar a few weeks before its release,and I found out that the movie wad going to be a remake of a film called After the Fox.Since I have enjoyed watching some of the other great films that Neil Simon has wrote,and having always been entertained by some of the film and radio work that Peter Sellers has done,I was very intrigued to see what type of film would be made,with both of them working together..

    The plot:

    As news of a $3 million robbery of gold bars, reaches the ears of the (jailed) worlds best criminal Aldo "the Fox" Vanucci,He decides to tell the wardens that he is going to break out of the prison at 3pm!.With having stolen someones identity,Vanucci escapes the jail right under everybody's nose.

    When he returns to his old home,he finds the person who has set up the robbery,who needs help to bring the gold into the country.Although both men are able to work out a deal (with Aldo getting 50% of the gold)Vanucci also has to deal with the trouble of his sister giving up school,so that she can become an actress.Luckaly for The Fox,when he is getting chased by some officers who want him for the prison escape,he hides at a film premiere.

    Suddenly,a light bulb goes off in Aldos head,that if he pretends that he is a film director,making a film in a small town,he will be able to use all the local people and police offices to unwittingly help him transfer the gold!.Although,when he starts to make the film,The Fox realises that keeping his patients with the cast & crew might be even tougher then importing the gold...

    View on the film:

    Though the screenplay is not as strong as some of his later films,such as the excellent movie The Odd Couple,the first screenplay by Neil Simons is still filled with a good amount of fun material.

    With,parts of the film (such as the scenes where The Fox is trying to get a faded Hollywood actor to star in his "avant-garde film.")showing some great signs of some of his future work.Whilst I was watching the film,one of the main scenes that instantly stuck out to me,was a scene where Aldo talks to the gold smuggle through the middle (wo)man,which I instantly recognised as something that was copied for the third Austin Powers film,although I think that Simons version of the joke is a lot stronger.

    For the avant-garde false- film shooting,director Vittorio De Sica,impressively always makes it that the audience is laughing with the characters and there avant-garde film,and not at them,with De Sica making sure that the film does not turn into a totally bitter satire about the film industry.For the cast,I feel that whilst Peter Sellers gives a very good performance,of an oddly slightly centre character,the clear stand out is Victor Mature as the fading Hollywood star Tony.Mature impressively being far ahead of the self-mocking former major actors of the classic Larry Sanders Show,with his great grizzled performance, showing a very pleasing amount of surprising sincerity.

    Final view on the film:

    A fun- filled,slightly wacky film,with good performances,a well-written screenplay and extremely engaging directing form Vittorio De Sica
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