The Italian Job - You'll Never Shut Down the Real Napster

Gracing the big screen in 2003 was F. Gary Gray's The Italian Job, a remake of the classic 1969 film of the same name. Although it shares a title and the use of Mini Coopers with the original, the new version of the film breaks new ground in the genre of action movies. Whereas films like the Bourne Trilogy utilize fast moving action to keep the viewer guessing, The Italian Job is focused more upon character development, scenery, and sound, with a healthy dose of realistic getaway driving in both cars and boats.

It is truly incredible how in just 111 minutes of screen time, with some of that being the credits, such personal characterization can be developed. The writers took an interesting stance in the script of the movie by presenting the central conflict and an action sequence at the start of the movie, before the characters are introduced. After the original conflict is revealed shortly following the opening heist, there is a short prelude narrated by Charlie as he introduces his partners in crime to Stella, the newcomer. The real purpose of this scene, of course, is to provide the audience with a bit of character background. Through the use of flashback and montage, one garners experiences in the past lives of the characters that explain their roles in the opening scenes, as well as what follows.

The film is a menagerie of memorable quotes, both humorous and true-to-life-lessons. There is a surreally natural feeling of interaction between the actors, like they've been friends forever. Since the film is not focused upon the action scenes and confusing the viewer, the audience gets to see the thieves in their "natural environment:" playing basketball, hanging out in a hotel room, or plotting the heist. Amongst this lackadaisical acting, many memorable lines arise to make the viewer smile or provoke thought.

Almost as thrilling as the action in the film is the scenery and majestic camerawork that composes each setting. Characters' faces are always well lit, usually with backgrounds of stark contrast, showing defining lines and exaggerating expressions during tense moments. Wide angle shots make up the scenes in the city or when driving to give the audience a feeling of expansiveness. Underwater shots are exceptionally riveting and come in times in desperation for the group. When in hallways, cars, and subway tunnels, the camera is always very close, yet remains steady, with the exception of the cars traveling down stairs when the camera bounces as if one is sitting in the passenger seat.

A particularly breathtaking transition occurs relatively early in the film. At the end of the first heist, the camera begins underwater, accompanied by an aural assault of deep bass sounds similar to what you hear when holding your breath underwater. The camera slowly moves toward the surface, pointing down, as the thieves swim underneath. Then, all of a sudden the camera breaks the surface of the water, with no visible shadow, reflection, or drips. When the camera is a few feet above the water, the music gradually becomes louder and a boat passes by so close you can nearly touch it. The view pans upward, showing a beautiful scene of Venice, Italy, then continues slowly up to the sky. It is nearly all blue, with a few wispy clouds. The buildings disappear from the bottom of the shot, and for a second there is only sky. Then the camera pans downward again, and Venice has been replaced by a snow covered mountain expanse, probably in the Swiss Alps. It is a seamless work of art that must be watched several times for the viewer to gain full appreciation.

The soundtrack fits exceptionally well to the visual cues at hand. Audiences may or may not enjoy the fact that the music is obscure and not what is considered popular. There are a few recognizable tunes, such as Heartbreaker and Fire, but most is difficult to find even on the internet. The ambient music that composes downtime for the actors and some of the driving sequences reflects the tempo and attitude well. If the viewer was to close his or her eyes, the music would most likely do a better job of describing the action than even the sound effects.

Although categorized as an action film by all available references, The Italian Job successfully strays from the norm of "wham-bam-shoot-'em-ups." Through the institution of a personal relationship between the audience and characters, one grasps the full experience of the sights and sounds that coalesce into this cinematic masterpiece.