Topkapi - Movie Reviews - Rotten Tomatoes

Topkapi Reviews

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½ January 10, 2018
Topkapi maybe the perfect cinematic experience: a technically precise entertainment that balances hearty laughs and unbearable tension to improve on Jules Dassin's earlier "Rififi" by merely upping the characterization.
½ January 1, 2018
Nice plotting. And that heist scene!!!!!!!
April 30, 2016
This is a fun little heist film, which takes a while to engage the audience, in part because of some rather bizarre introductions. It's a parody of sorts of director Jules Dassin's original heist caper, Rififi, but the actual heist is worth waiting for, as the tension is quite...well, intense. A very self-conscious film, with bizarre (to modern audiences) elements that pays off in the end.
January 18, 2015
Deliciosa comedia ,aunque se note el paso de los a√Īos , mantiene su interes .Peliculas como Mision Imposible y Ocean Eleven le deben las ideas a este film . Lo mejor la escena del robo filmada con maestria digna de Hitchcock y el personaje de Peter Ustinov.
½ December 31, 2014
This has been one of the most admired and imitated caper films of all time. Sure, it was made in the 60's, so don't look for MTV -type edits, but the story is a lot of fun, keeps you guessing right up until the end, and the characters and settings are very memorable. Peter Ustinov won an Academy Award for his performance, certainly one of his best -- and that's saying a lot. If you're in the business, and haven't yet seen Topkapi, you owe it to yourself to see it.
½ December 26, 2014
Lighthearted, but very lengthy, dull crime caper that's been done better many other times.
½ November 5, 2014
The story never enumerate to any answer. We are strangled in the midst of a snow storm like. Horrible portraits except Ustinov s'.
½ October 18, 2014
A dizzying kaleidoscope of action, comedy and technicolor. Dassin proves his mastery over colour film as he did with black and white.
October 4, 2014
A very enjoyable 60's heist movie starring Peter Ustinov, Robert Morley and Maximilian Schell. Not as slick as Ocean's 11, but a lot more tongue in cheek. Peter Ustinov is great, but not worthy of an Oscar award. 1964 must have been a very bad year.
½ April 2, 2014
Dated caper yarn that still holds up rather well. Ustinov gets to flex a muscle too.
½ March 27, 2014
a elegant 'caper' film.
½ March 25, 2014
Brutal start to the movie but once it gets going it isn't too bad. Very poorly acted all the way round to make the story unconvincing. The plot is decent so too bad it was wasted.
August 10, 2013
Saw this greatest of all caper films theatrically in 1964, and it inspired in me a determination to go to the Topkapi museum in Istanbul and see the sultan's dagger. It took 35 years to fulfill this ambition, but I finally did it in 1999.
½ February 11, 2013
I just Love that kinda movies
Critique Threatt
Super Reviewer
January 3, 2013
Jules Dassin is the master of the hiest genre in "Topkapi". I found the film rather entertaining particularly the great hiest sequence which is reminescent to Dassin's early picture "Raffi". The cast is pretty good. You got Melina Mercouri, Peter Ustinov, Robert Morley and Maximilian Schell
who reminded me of Daniel Day-Lewis.
November 18, 2012
Damn, this was a good caper film.
August 28, 2012
Between a 7/10 and 8/10, it's one of the very best heist films ever made, Topkapi provides the template for the many lighthearted capers that came later.
½ August 26, 2012
My second Jules Dassin‚(TM)s film after NIGHT AND THE CITY (1950, 7/10), and out of my expectation it‚(TM)s an exotic Turkish heist adventurer with a blithe tone and meticulous detail-solidification with regard to the theft action.

The film starts with a tawdry but foxy Melina Mercouri (Dassin‚(TM)s muse and future wife) enigmatically introducing her craving to steal the most precious jewelled dagger from Topkapi museum, her kitschy costume and the settings are antiquated enough to divert the film into a burlesque frivolousness, but when her entire team assembles (including the male-counterpart mastermind Maximilian Schell), with an additional interlope, a small-con ‚schmo‚? (the Oscar-winning Peter Ustinov), the film regains its vigour and flair in its strongest form to manoeuvre a seamless treasure-replacement theft, benchmarks an exemplar of its genre which haven't been overshadowed since then, the escape strategy during a Turkish old-wrestling (KńĪrkpńĪnar) pageantry is no less pleasant to watch against the trickery‚(TM)s predictability, and far more thrilling is the actual stunts which thoroughly generate a gravitating magnetism on the screen lest as little as one needle‚(TM)s dropping would scupper the plan. But the pathos-bathos irrefutably comes in the end, in the public media, where no one should dare wrote an ode to theft, no matter how benevolent those convicts are in person, thus the finale has to be a received compromise which still is in line with the filmic light-hearted air.

Ustinov, is so congenital and always oozes a screen-friendly affability and warmth in his presence, whose second Oscar win of a borderline supporting role is well-earned by lifting the entertainment-heavy film onto a stratum of character-engaging experience. An appearance combo of Debra Messing and Anne Bancroft, the nymphomaniac Melina Mercouri stands still as the shallow and narrow-written role of an anti-femme fatale brain, and a gorgeous Maximilian Schell is shamefully eclipsed by his chubby sidekick, whose circumscribed performance nevertheless at least arouse my curiosity to delve into his filmography a bit deeper.
Super Reviewer
½ June 25, 2012
A bunch of weird, unintelligible, Europeans attempt a painfully boring heist. The end.
Super Reviewer
½ June 10, 2012
A group of thieves recruit a bumbling fool in their quest to steal a dagger from a museum.
In the tradition of Ocean's Eleven this is a decently plotted heist film. There are a few plot twists that give the script a clever feel, but it's pretty basic. The best part of the film is Best Supporting Actor Oscar-winner Peter Ustinov who makes us both pity and sympathize with Arthur Simpson. Sometimes he's too dumb to know better, and other times he's just clever enough to make him likable.
I didn't like the film's style; the opening credit sequence reminded me of an Adam West Batman fight, and Melina Mercoun's performance as Elizabeth Lipp quickly annoyed me; she's the drunk girl in the bar who can go home with anyone else but me.
Overall, Topkapi is light and sometimes fun but innocuous.
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