Why ‘The Thomas Crown Affair’ is the Ultimate Heist Movie You Can’t Miss!

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#6 in my Ranking of John McTiernan films.

This film is most enjoyable when characters are involved in theft, especially art heists. It follows a wealthy individual who craves excitement and decides to pilfer one of the Met’s priciest exhibits as a personal jest, using a reproduction of René Magritte’s “The Son of Man” as camouflage. The movie’s main flaw lies in its attempt to evoke empathy for these characters, as their cold and disconnected nature makes it challenging to care about their lives deeply.

In the film, The Thomas Crown Affair, the story takes off and peaks during the initial and final scenes, specifically when we witness the two meticulously planned heists. The opening scene provides a detailed account of Thomas Crown, a wealthy financier, engaging in his usual business activities, including admiring “his haystacks” by Van Gogh at the Met, followed by a group of thieves stealthily entering the museum through a hollow horse statue, making their way to the Monet painting titled “San Giorgio Maggiore at dusk”. Alarms are triggered, providing Crown with an opportunity to swiftly intervene, snatch the Monet from the wall, and casually exit. This thrilling sequence, accompanied by Bill Conti’s catchy and entertaining score, sets the tone for the first twenty minutes of the movie, making it the most enjoyable and effortless part.

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Essentially, what I’m trying to convey is that the rest may still be enjoyable, but it’s distinct from this particular instance. Enter Catherine Banning, portrayed by Rene Russo, an insurance investigator on a mission to retrieve a stolen $100 million check in Switzerland. She suspects Crown and although Michael McGann, Denis Leary’s police detective, can’t act without solid proof, Catherine operates beyond the boundaries of warrants. Her goal is to recover the painting, and it turns out that her pursuit and Crown’s actions make them a perfect pair.

From a movie enthusiast’s perspective, both characters in “The Thomas Crown Affair” are adrenaline junkies who know each other’s game to a tee. I was well aware that he had swiped the masterpiece, and she was hot on its trail. He kept me around for the thrill, and I played along for the same reason. The ensuing cat-and-mouse chase didn’t seem to be driven by genuine feelings but rather a means to an end – using each other to achieve personal objectives.

When, towards the end of the movie, Catherine seemed to develop sentiments for Thomas, it felt forced. I couldn’t help but think that the intensity of Russo’s emotional outburst didn’t align with the film’s overall tone. This movie isn’t about deep emotions; it’s all about light-hearted fun.

The movie concludes with its second robbery and the return of the Monet, the way it unfolds being entertaining and reminiscent of the film’s beginning. It ends with a surprising, albeit slightly unrealistic, conclusion. Additionally, the emotional payoff is delivered through a couple more unexpected twists.

In my opinion, if the movie had focused more on maintaining its comedic aspect without delving too deeply into unnecessary emotional scenes, it could have been a straightforward, enjoyable film experience. Brosnan and Russo are delightful in their roles as the leads. Leary provides a subtle yet impactful performance as the detective, who while not always on top of the plot, is always perceptive when it comes to Catherine. The music by Bill Conti is charmingly humorous, and John McTiernan’s direction is competent and confident. Overall, it’s an enjoyable trip to the cinema.

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2025-01-31 00:15