My latest Netflix movie was from Blue Underground, a 1967 Italian heist film called Grand Slam. It has drawn some comparisons to Rififi which are fair, but it stands on its own with a very 60s style to it. The movie was filmed in Rio de Janeiro which provides some interesting locations as the heist develops. Grand Slam begins with a bookend, a set-up for the rest of the movie. So if nothing else, GS gets points for originality.
After 30 years teaching in Rio, Professor James Anders (Edward G. Robinson) is retiring and heads home to New York. He visits an old friend, Mark Milford (Adolfo Celi), who's now heavily involved in the underworld with a proposition, a heist that's been brewing in Anders' head for many years. From his office in Rio, Anders had a view twice a year of a diamond shipment being delivered to the bank across the street. It comes like clockwork, and the professor has everything figured out on how to get the diamonds. And why do it this year? The delivery coincides with Carnival and will leave the bank closed for business for 4 days and wide open for the heist. With help from Milford recruiting a team, Anders puts his plan into action.
Heading the team is a German mercenary (Klaus Kinski), joined by an engineer (Riccardo Cucciolla), a safecracker (George Rigaud), and interestingly enough, a playboy (Robert Hoffmann) who typically has no problems with women. Part of the heist goes to the playboy, Jean-Paul, who must seduce a woman who works in the bank, Mary Ann (Janet Leigh), and get his hands on a set of keys to the vault. The planning goes smoothy until the foursome discover the bank has installed a new security system, the Grand Slam, which utilizes extremely sensitive microphones and sets off an alarm at the slightest sound over 16 decibels.
After the opening introduction and recruiting of the team, Robinson and Celi disappear until the last 15 minutes or so. Most of the movies belongs to the heist team with the planning, execution, and getaway of the diamonds. Just wanted to point that out so don't go in expecting a Robinson-dominated movie although he is good in what amounts to an extended cameo, Celi too. The always intense Kinski leads the team, and he doesn't disappoint here, seemingly always one good shove away from snapping. Hoffmann gets to smooze Leigh, that must have been tough, and Cucciolla falls for a local girl. As the stoic safecracker, Rigaud doesn't get any love interests, but as the veteran of the group provides some needed calmness and leadership with Kinski.
Following the huge success of Alfred Hitchcock's Psycho, Leigh was only in a handful of other movies while guest starring on a number of TV shows in the 60s and 70s. Made to look somewhat plain with a large pair of glasses and pulled back pale blond hair, Leigh is supposed to be the unattractive secretary that no man would be interested in. All I could think at that characterization was rrrrrrrrright. It would have been hard to 'ugly up' Leigh, with one character even saying "I'm glad it wasn't me" in reference to Jean-Paul having to woo her. Leigh has a great part here as a woman being played by the playboy.
Some of the comparisons to Rififi have to come from the similarities in the actual heist sequence. It's a quiet sequence although I'd have to go back and watch to see if there was actually any words spoken between the four men. The way the team gets around the Grand Slam security system is a creative one, one I hadn't thought of, and the setting of the opening of Carnival with a huge parade going on makes for an interesting entrance and getaway. The heist is long, lasting most of a half hour in running time as the plan develops, but it's well-choreographed, especially with two security guards patrolling the building on a 30-minute loop.
Other things worth mentioning include the ending with 2 different twists, both working very well without being forced. The second twist isn't as surprising as the first, but it works perfectly and should hopefully produce a chuckle or two because if we've learned anything from heist movies over the years, crime doesn't pay. It's the type of twist ending that can make a good movie into a very good movie. I won't say it's a classic heist movie, but Grand Slam does everything well. Ennio Morricone turns in another interesting, catchy score although it's really only used in the opening and closing credits. Check out the trailer if you're wavering on whether to see it.
Grand Slam (1967): ***/****
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