Other Titles • The Thomas Crown Affair • The Crown Caper (1968) • Thomas Crown and Company (1968) • Thomas Crown ist nicht zu fassen (1968) • Crown Caper
Synopses for The Thomas Crown Affair (1968)
1.
In Norman Jewison's 1968 crime caper, (Steve McQueen) stars as Thomas Crown, a rich and charming businessman--and the last person to be suspected as a bank-robbing mastermind. (Faye Dunaway) is Vicki Anderson, the insurance investigator assigned to the case. As Anderson proceeds in her search for the criminal, her sights become set on the millionaire thrill-seeker. The film captures McQueen near the height of his powers and popularity and was nominated for two Academy Awards: Best Original Score and Best Song ("The Windmills of Your Mind"). THE THOMAS CROWN AFFAIR was remade--starring Pierce Brosnan and Rene Russo--in 1999, with Dunaway appearing as a psychologist.
2.
Suave and clever, Thomas Crown lives for the action, the rush of adrenaline from getting away with the perfect heist. He may finally have met his match in Vicky Anderson, an insurance investigator who is as relentless as she is beautiful. Will her burgeoning feelings for Crown make it difficult to turn him in?
3.
Millionaire businessman Thomas Crown (Steve McQueen) is also a high-stakes thief; his latest caper is an elaborate heist at a Boston bank. Why does he do it? For the same reason he flies gliders, bets on golf strokes and races dune buggies: he needs the thrill to feel alive. Insurance investigator Vicky Anderson (Faye Dunaway) gets her own thrills by busting crooks, and she's got Crown in her cross hairs. Naturally, these two will get it on, because they have a lot in common: they're not people, they're walking clothes racks. (McQueen looks like he'd rather be in jeans than Crown's natty three-piece suits.) The Thomas Crown Affair is a catalogue of 60s conventions, from its clipped editing style to its photographic trickery (the inventive Haskell Wexler behind the camera) to its mod design. You can almost sense director Norman Jewison deciding to "tell his story visually," like those newfangled European films; this would explain the long passages of Michel Legrand's lounge jazz ladled over endless montages of the pretty Dunaway and McQueen at play. (The opening-credits song, "Windmills of Your Mind," won an Oscar.) It's like a "What Kind of Man Reads Playboy?" ad come to life, and much more interesting as a cultural snapshot than a piece of storytelling. --Robert Horton
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