Malaria’s not the only surprise comeback of 2023. Gold heists are still a thing:
Police in Canada are investigating one of the largest gold heists in the country’s history, after more than C$20m ($15m; £12m) of the precious metal and other valuable goods were stolen from Toronto’s airport [this past April].
[…] In a brazen pilferage, a “high-value container” disappeared while it was being transported to a cargo holding facility near Canada’s busiest airport.
Authorities say the thieves gained access to the public side of a warehouse near Toronto Pearson International Airport that was unmanned by airport security.
The theft, which is still under investigation, was an isolated and “very rare” incident, police say. While a heist of that magnitude is indeed rare, a look at Canadian history shows it’s not the first.
The Toronto Pearson International Airport has often been used as a hub for gold mined in the province of Ontario, and in September 1952 it was the scene of a mysterious heist.
Back then, Pearson was known by another name: Malton Airport. It is where thieves managed to steal about C$215,000-worth of gold bars (valued at about C$2.5m today).
The gold was stored in a steel mesh wire cage before it was loaded to a Montreal-bound plane. From there, it was destined to be shipped to the UK.
But when the plane arrived in Montreal, there were only four boxes of gold bullion out of 10.
According to articles from the Toronto Star at the time, the robbers were never spotted. No suspect has been publicly named since the heist took place 70 years ago.
The gold “just seemed to vanish”, a police officer told reporters at the time.
“Theft happens all the time at airports,” says Stacey Porter, an independent security consultant who conducts security risk assessments for airports.
Airports are large facilities with lots of potential security vulnerabilities, especially in areas where bags and cargo are kept, he says.
Cameras capture every moment that passengers spend inside airports, but luggage – both commercial airline cargo and larger shipments made by businesses – are often kept in darkened warehouses that may not have much video surveillance. […]
While Canada has an impressive history of gold heists, none come quite close to one that has been dubbed the “Crime of the Century” in the UK, involving the theft of gold bullion in November 1983, valued then at £26m.
In today’s currency, that amount is worth around £112m, or C$188m in Canadian dollars.
The robbery unfolded after six armed men broke into the Brink’s-Mat depot near London’s Heathrow Airport, with the help of one of the security guards who was in on the theft.
They were expecting to find large sums of foreign currency. Instead, they stumbled on precious gold, diamonds and cash.
The theft led police on a lengthy chase to find all of those who were involved, as the criminals enlisted the help of others to help turn the gold into cash.
Many murders over the years have been linked back to the robbery, as well as a few suicides. Much of the gold has never been recovered and four out of the six original robbers were never convicted.
The heist was one of the largest in world history at the time, and had a lasting impact on both the British public and police.
A BBC TV drama depicting the robbery and its aftermath stated that “if you have bought gold jewellery in Britain since 1984, it is likely to contain traces of the Brink’s-Mat gold”.
That BBC miniseries is called The Gold, and is streaming here in the colonies on Paramount Plus-which (dammit!) is a platform I’m not subscribed to (nothing a “free trial” can’t cure, if you catch my drift). There’s also a 1993 made-for-TV movie called Fool’s Gold: The Story of the Brink’s-Mat Robbery, starring Sean Bean (I haven’t seen that one either). I’ve always been a sucker for heist films; as I’ve seen my fair share, I thought I’d steal a few moments of your time and break into my video vault to share a few favorites:
The Anderson Tapes – In Sidney Lumet’s gritty 1971 heist caper, Sean Connery plays an ex-con, fresh out of the joint, who masterminds the robbery of an entire NYC apartment building. What he doesn’t know is that the job is under close surveillance by several interested parties, official and private.
To my knowledge it’s one of the first films to explore the “libertarian’s nightmare” aspect of everyday surveillance technology (in this regard, it is a pre-cursor to Francis Ford Coppola’s paranoiac 1974 conspiracy thriller The Conversation).
Also on board are Dyan Cannon, Martin Balsam, Ralph Meeker, Alan King and Christopher Walken (his first major film role). The smart script was adapted from the Lawrence Sanders novel by Frank Pierson, and Quincy Jones provides the score.
Bellman and True – This off-beat 1987 caper is from eclectic writer-director Richard Loncraine (Brimstone & Treacle, The Missionary, Richard III, et.al.). Bernard Hill stars as a computer system engineer named Hiller who finds himself reluctantly beholden to a criminal gang he had briefly fallen in with previously. They have kidnapped his teenage son and threaten to do him harm if Hiller doesn’t help them disable the alarm system at the bank they’re planning to rob.
The one advantage he holds over his “partners” is his intelligence and technical know-how, but the big question is whether he gets an opportunity to turn the tables in time without endangering himself or his son. A unique, character-driven crime film, with cheeky dialog and surprising twists (Desmond Lowden co-adapted the screenplay from his own novel with Loncraine and Michael Wearing).
Bob le Flambeur – This is the premier “casino heist” movie, a highly stylized homage to American film noir from writer-director Jean-Pierre Melville. “Bob” (Roger Duchesne) is a suave, old-school gangster who plans “one last score” to pay off his gambling debts.
The film is more character study than action caper; in fact its slow pace is the antithesis to what contemporary audiences expect from a heist movie. Still, patience has its rewards. The film belies its low-budget, thanks to the atmospheric location shooting in the Montmartre and Rue Pigalle districts of Paris.
Charley Varrick – Directed by Don Siegel (The Big Steal, The Lineup, Dirty Harry) and adapted from John Reese’s novel by Howard Rodman and Dean Reisner, this tough and gritty crime drama/character study from 1973 stars Walter Matthau as a master thief/ex- stunt pilot who gets into hot water when he unwittingly robs a bank that washes money for the mob. I think it’s one of his best performances. If the cheeky dialog reminds you of a certain contemporary film maker, all will become clear when one character is warned that the mob may come after him with “a pair of pliers and a blowtorch.” Joe Don Baker is memorable as a kinky hit man.
Criss-Cross – Burt Lancaster stars in this 1949 noir by revered genre director Robert Siodmak (Phantom Lady, The Suspect, The Killers, The Cry of the City, et.al.). Lancaster is an armored car driver who still has the hots for his troublesome ex-wife (Yvonne De Carlo). Chagrined over her marriage to a local mobster (Dan Duryea), he makes an ill-advised decision to ingratiate himself back into her life, leading to his reluctant involvement in an armored car heist as the “inside man”.
Great script by Daniel Fuchs (adapted from Don Tracy’s novel; Steven Soderbergh adapted his 1995 thriller The Underneath from the same). Artful, atmospheric cinematography by Franz Planer.
Dead Heat on a Merry-Go-Round – James Coburn is at his rascally best as a con artist who schemes to knock over a bank at LAX, ingeniously using the airport’s security lock down for the visit of a foreign dignitary as cover. The first half of the film is reminiscent of The Producers; in order to raise the money he needs to finance the heist, he uses his charm to bilk rich women out of their savings.
Aldo Ray, Severn Darden and Robert Webber give good supporting performances. It’s the only real film of note by writer-director Bernard Girard, but one could do worse for a one-off.
$ (Dollars) – In this 1971 film from writer-director Richard Brooks, Warren Beatty is a bank security expert who uses intel from his sex worker girlfriend (Goldie Hawn) to hatch an ingenious plan to pinch several safety deposit boxes sitting in the vault of a German bank (the boxes belong to criminals). The robbery scene is a real nail-biter.
What sets this apart from standard heist capers is a chase sequence that seems to run through most of Germany and takes up 25 minutes of screen time (a record?). The cast includes Robert Webber and Gert Frobe (Mr. Goldfinger!). Great Quincy Jones score.
Heat – This is writer-director Michael Mann’s masterpiece. While it features the planning and execution of several heists and delivers exciting action sequences, at its heart it is a character study.
Robert De Niro portrays a master thief who plays cat-and-mouse with a dogged police detective (Al Pacino). Mann not only examines the “professional” relationship between the cops and the robbers, but by drawing parallels between the characters’ personal lives he illustrates how at the end of the day, they basically seek the same things in life (they only differ in how they go about “getting” it). De Niro and Pacino only have one brief scene together, but it’s a doozy.
The great supporting cast includes Val Kilmer, Tom Sizemore, Jon Voight, Wes Studi, Amy Brenneman and Ashley Judd.
The Hot Rock – Although it starts out as a by-the-numbers diamond heist caper, this 1972 Peter Yates film delivers a unique twist halfway through: the diamond needs to be stolen all over again (so it’s back to the drawing board). There’s even a little political intrigue in the mix. The film boasts a William Goldman screenplay (adapted from a Donald E. Westlake novel) and a knockout cast (Segal, Robert Redford Zero Mostel, Ron Leibman, Paul Sand and Moses Gunn). Redford and Segal make a great team, and the film finds a nice balance between suspense and humor. Lots of fun.
Kelly’s Heroes – The Dirty Dozen meets Ocean’s Eleven in this clever hybrid of WW2 action yarn and heist caper, directed by Brian G. Hutton. While interrogating a drunken German officer, a platoon leader (Clint Eastwood) stumbles onto a hot tip about a Nazi-controlled bank with a secret stash of gold bullion worth millions.
Eastwood plays it straight, but there’s anachronistic M*A*S*H-style irreverence on hand from Donald Sutherland, as the perpetually stoned and aptly named bohemian tank commander, “Oddball”.
Also with Telly Savalas, Don Rickles, Carroll O’Connor, Gavin MacLeod and Harry Dean Stanton. Mike Curb (future Lt. Governor of California!) composed the theme song, “Burning Bridges”.
The Killing – Stanley Kubrick’s 1956 film (nicely shot by DP Lucien Ballard, renowned in later years for his work with Sam Peckinpah) is a pulpy, taut 94-minute noir that extrapolates on the “heist gone awry” model pioneered six years earlier in John Huston’s The Asphalt Jungle (also recommended!). Kubrick even nabbed one of the stars from Huston’s film, Sterling Hayden, to be his leading man.
Hayden plays the mastermind, Johnny Clay (fresh out of stir) who hatches an elaborate plan to rob the day’s receipts from a horse track. He enlists a couple of track employees (Elisha Cook, Jr. and Joe Sawyer), a wrestler (Kola Kwariani), a puppy-loving hit man (oddball character actor Timothy Carey-the John Turturro of his day) and of course, the requisite “bad” cop (Ted de Corsia).
Being a cautious planner, Johnny keeps his accomplices in the dark about any details not specific to their particular assignments. Still, the plan has to go like clockwork; if any one player falters, the gig will collapse like a house of cards. Also in the cast: scene-stealer Marie Windsor, who plays an entertainingly trashy femme fatale.
Legendary pulp writer Jim Thompson was enlisted for the screenplay (adapted from Lionel White’s Clean Break). Stories have circulated that Thompson never forgave the director for the “screenplay by Stanley Kubrick, with additional dialog by Jim Thompson” billing, when it was allegedly Thompson who contributed the lion’s share of original dialog to the script.
While certain venerable conventions of the heist film are faithfully adhered to in The Killing, it’s in the way Kubrick structures the narrative that sets it apart from other genre films of the era. Playing with the timeline to build a network narrative crime caper is cliché now, but was groundbreaking in 1956 (Quentin Tarantino clearly “borrowed” from The Killing for his 1991 caper Reservoir Dogs).
The Ladykillers (1955) – This black comedy gem from Ealing Studios concerns a league of five quirky criminals, posing as classical musicians, who rent a flat from little old Mrs. Wilberforce and use it as a front for an elaborate bank robbery. To watch Alec Guinness, Peter Sellers and Herbert Lom working together is a beautiful thing.
William Rose scripted (he also penned Genevieve, another Ealing classic). Director Alexander Mackendrick would go on to helm one of the darkest noirs of them all, The Sweet Smell of Success, in 1957.
Ocean’s Eleven (1960) – This (very) loose remake of Bob le Flambeur is the ultimate Rat Pack extravaganza. Frank Sinatra stars as Danny Ocean, a WW2 vet who enlists 11 of his old Army buddies for an ambitious take down of five big Vegas casinos in one night. Yes, they are all here: Sammy Davis, Jr., Dean Martin, Peter Lawford, Joey Bishop, Angie Dickinson, Henry Silva and the original “Joker” himself-Cesar Romero. Lewis Milestone directed, and Billy Wilder is said to have made some non-credited contributions to the script.
To be sure, it’s a vanity project, and may not hold up well to close scrutiny; but every time Sammy warbles “Eee-ohhh, eee-leaven…” I somehow feel that all is right with the world. Steven Soderbergh’s contemporary franchise is slicker, but nowhere near as hip, baby.
That Sinking Feeling – Sort of a Scottish version of Big Deal on Madonna Street, this was the 1979 debut from writer-director Bill Forsyth (Local Hero, Comfort & Joy). An impoverished Glasgow teenager, tired of eating cornflakes for breakfast, lunch and dinner, comes up with a scheme that will make him and his underemployed pals rich beyond their wildest dreams-knocking over a plumbing supply warehouse full of stainless steel sinks.
Funny as hell, but with a wee touch of working class weltschmerz ; this subtext makes it a precursor to films like The Full Monty, Waking Ned Devine and Brassed Off. Nearly all of the same principal cast would return in Forsyth’s 1982 charmer, Gregory’s Girl.
Topkapi – I’m sure I will be raked over the coals by some for choosing director Jules Dassin’s relatively lighthearted 1964 romp over his darker and more esteemed 1956 casse classic Rififi for this list, but there’s no accounting for some people’s tastes-eh, mon ami?
The wonderful Peter Ustinov heads an international cast that includes Melina Mercouri, Maximilian Schell, Robert Morley and Akim Tamiroff. They are all involved in an ingeniously planned heist to nab a priceless bejeweled dagger that sits in an Istanbul museum.
There’s plenty of intrigue, suspense and good laughs (mostly thanks to Ustinov’s presence). There’s also a great deal of lovely and colorful Mediterranean scenery to drink in. Entertaining fare.
…And just for fun:
Previous posts with related themes:
Criterion reissues Kubrick’s The Killing and Killer’s Kiss
More reviews at Den of Cinema
— Dennis Hartley