The plot is very interesting, smart actually. I liked how the heist was masterminded and the brain behind the crime scene is this very cool Thomas Crown. But then Faye Dunaway appears and a little bit boring game of cat and mouse starts to play. The chemistry between McQueen and Faye was on and off. Some moments were beautifuly designed. I found the ending satisfying. 6.5/10. Steve McQueen icon!
Seemingly divisive, these days. It's a case of style over substance, to be sure, but man, all the split-screens and tracking shots and lavish, loud-and-proud production design make for a pretty intoxicating experience. McQueen and Dunaway absolutely sizzle; that controversial, bombastic, silly and sexy candy-colored chess scene is about what you'd get if you asked Sergio Leone to direct foreplay.
Sexy leads Steve McQueen and Faye Dunaway at their most attractive playing "criminal and law officer" falling in love. Has the most memorable erotic chess game put on film and the Academy Award winning title song "Windmills of your mind" that sticks into your mind. Some great split screen sequences during the first minutes of the film with a bank robbery as a highlight. Not much substance but it is damn entertaining.
A triumph of editing ( Hal Ashby, et. al ) and camerawork (Haskell Wexler) cements this films reputation as a cornerstone work of the late sixties. McQueen and Dunaway are a memorable screen couple here on opposite sides of a heist but unable to keep their hands off each other. The script falters now and then but the technical accomplishments behind the camera are still impressive. The chess sequence is classic.
A technical triumph of editing, music and visual panache, which transforms this very hokey crime caper into the smoothest of concoctions. McQueen and Dunaway spar with style and one would be hard pressed to find another heist outing in such a gorgeously frothy wrapper. That said, the tin is empty under this particular bow.
Faye Dunaway & Steve McQueen (1968) beat Rene Russo & Pierce Brosnan (1999); although both pairs are doing very, very well. Still, why is the original (slightly) better than the remake? Steve McQueen is cooler and Faye Dunaway sexier. Clothes are wonderful; Thomas Crown's bar and how he mixes the drink is fantastic.
The film is a sort of telescoped outcome (or counter-revolutionary harbinger) of the 60s hippie dream of restlessness and uncertainty, where the searcher is now all grown up and finding that money can't buy contentment. McQueen as the handsome, beautifully dressed dilettante seeks thrills underneath the ennui; likewise, the film regrettably favours style over a thoughtful critique of modern society.
It doesn't always come together, as the plot is quite clumsy, but Steve McQueen and Faye Dunaway make this movie. The stylistic flourishes are nice, but they don't always fit with the tone of the movie and appear dated. The music's good, but by god the songs suck.
En esta película, la historia pareciera ser lo de menos. Steve McQueen y Faye Dunaway hacen una gran pareja, desbordante de estilo y sensualidad. La fotografía, el diseño de producción y el montaje (el impactante uso de las pantallas divididas) conforman uno de los caleidoscopios más fascinantes que he visto en mucho tiempo.
Extremely stylized film that on first glimpse does not hold up to its premise. The real essence of the movie is in the style and look of the characters and their lifestyle. McQueen and Dunaway exude a sense of existentialism that elevates this caper film to something more...in the windmills of your mind. And that is certainly the way to play chess.