Hi, Guys 'n' Dolls! That girl's here again ... Just left you at the beginning of this month with my latest CINEMA COFFEE write-up for THE YOUNG GIRLS OF ROCHEFORT (1967). Today we pick up with VENUS RISING or ... HOW TO STEAL A MILLION (1966).
Back in September, I did a CINEMA COFFEE video chat on HOW TO STEAL A MILLION (1966) and SABRINA (1954), (see video below, or on my YouTube Channel) both included in a series I was doing discussing books I had read over the Summer on print-to-screen adaptations, and these particular print-to-screen adapts as part of a book reading challenge @cinemabooknerd was doing on Audrey Hepburn films adapted from books.
In keeping with my moto of spoiler-free content, I kept my discussion spoiler-free while trying to highlight some of the differences between the reads vs. the film adapt just in case there were some who wanted to read the stories without knowing *everything* about it, answering any questions privately for anyone who wanted the spoilers and details about the book ... rather, short story, as it is a 1962 story by George Bradshaw included in a collection of stories titled PRACTISE TO DECEIVE, and a fairly quick and smooth read at only 28 pages.
Well, breaking temporarily with my own spoiler-free rule, I'll give you the dirt on the book vs. film. So, fair warning ...
SPOILER ALERT! FROM HERE ON! Read at your own risk:
I'll start by saying HOW TO STEAL A MILLION has played a huge impact on me in regard to story lines, heist films being a personal favorite genre of mine, HTSAM compliments humor, heisting, and a dash of romance together without one getting in the way of the other. Well blended. Or, as Googie Withers in CROWN V. STEVENS (1936) would say "perfectly splendid." So much so, I drew a bit of inspiration from it when I first wrote a story I had hoped to adapt into a feature film LEGENDS: LOCK 'N LOAD.
Never one to assume ... ya know, making the "ass" out of "u" and "me" ... I will ... take for granted, if you are here, you've seen the film. If not, and you still don't mind spoilers. Enjoy the ride.
As I mentioned in the video I did for VENUS RISING (above), you can easily see why it would give someone the idea of a film adaptation. The charm, the cleverness, is still there in the pages, as it is with the film. There are (as with SABRINA FAIR) *a lot* of extra characters in the read than in the film ... That is, it's not just Nicole (Jeanne in the story) and her father, it's an operation. Literally. I'll explain.
As I mentioned in the video I did for VENUS RISING (above), you can easily see why it would give someone the idea of a film adaptation. The charm, the cleverness, is still there in the pages, as it is with the film. There are (as with SABRINA FAIR) *a lot* of extra characters in the read than in the film ... That is, it's not just Nicole (Jeanne in the story) and her father, it's an operation. Literally. I'll explain.
The film, headed by Audrey Hepburn and Peter O'Toole, hosts a cast that includes Hugh Griffith as Charles Bonnet, Eli Wallach as Davis Leland, Charles Boyer as DeSolnay, Fernand Gravey as Grammont and Marcel Dalio as Paravideo. However, in the film, the only true con artist to the very blood of their veins we get is the father, the daughter, Nicole, is more or less helping her father, in the storyline we get, out of a situation for fear of his "profession" being found out. Not because she's the ringleader of the operation. This is where the short story by Bradshaw comes in and gets even better ...
In Bradshaw's VENUS RISING story, it's a band of con artists, the father, the father's sister (the Countess), her son (Edouard) and ... the cook, Louis Dobrey, who plays a role other than cook, he's the artist (who used to assist Jeanne's Grandfather ... who was the original mastermind) who paints "in the style of Rodin." ... Yes, it's all quite involved, and Jeanne is the leader of the outfit (personally the part I loved the most about the book).
And ... for your consideration, the Countess does *not* like Jeanne and Edouard taking in John (O'Toole's "Simon" in the film adapt), even if they are doing it to have him assist them, unbeknownst to him, in their scheme of the Venus.
We meet John first, (a soon-to-be museum director) as he's writing a letter to his father about his life in Nice and how it compares to America (in the story, he's American) and talks of how the Bonnets (who run an "art dealing house" in Paris as a family business, The Galerie Bonnet) make him feel like an "Innocent American," you get the impression he's looking at his time with Jeanne and Edouard as a grand adventure, something new in his life (which it is, he's a bit different in the story than in the film), and does what Jeanne has been asking him to do because he's taken by her.
You don't get the idea that Jeanne is attracted to John at the beginning other than using him for her own purposes, which is what she tries to explain to the family when they have a family meeting about her progress on John and the Venus thus far, what role everyone is to play, and how much does Jeanne and Edouard trust John is in the dark about their scheme. (He is, completely!)
“It's not personal, Sonny. It's strictly business.”
And ... for your consideration, the Countess does *not* like Jeanne and Edouard taking in John (O'Toole's "Simon" in the film adapt), even if they are doing it to have him assist them, unbeknownst to him, in their scheme of the Venus.
We meet John first, (a soon-to-be museum director) as he's writing a letter to his father about his life in Nice and how it compares to America (in the story, he's American) and talks of how the Bonnets (who run an "art dealing house" in Paris as a family business, The Galerie Bonnet) make him feel like an "Innocent American," you get the impression he's looking at his time with Jeanne and Edouard as a grand adventure, something new in his life (which it is, he's a bit different in the story than in the film), and does what Jeanne has been asking him to do because he's taken by her.
You don't get the idea that Jeanne is attracted to John at the beginning other than using him for her own purposes, which is what she tries to explain to the family when they have a family meeting about her progress on John and the Venus thus far, what role everyone is to play, and how much does Jeanne and Edouard trust John is in the dark about their scheme. (He is, completely!)
“It's not personal, Sonny. It's strictly business.”
We do get a Monte Carlo gambling scene which I wish were worked into the film adapt somehow. Personally, I think the way the film was shot, the colors, the style, the period, a Monte Carlo scene would've looked so glam!
In the story, Jeanne 'n Co. have it set up that they will place "the Venus" in the sea (they do a lot of deep-sea diving in the storyline) and have John "discover" it with them (the cousins, Jeanne and Edouard).
It's all a production.
To make sure it looks authentic, the two had already done a sea diving run with John prior, so it didn't look so suspicious when the Venus turns up all of a sudden. As if there are a lot of treasures to be found in the mud of the sea.
Oh ... John also asked Jeanne to marry him, right after they "discover" the Venus and have their picture taken for the newspaper. When he asks her, she runs ... Literally. She just stares at him wide-eyed and runs.
We find out it's because she's in love with him too and doesn't want him to find out who she is and what the Bonnets actually do ... for a living. It's this that makes her suddenly change course. She doesn't want to carry through with the plan for "the Venus" by selling it to the Herendeen and making a substantial amount of money from the sale.
In the story, Jeanne 'n Co. have it set up that they will place "the Venus" in the sea (they do a lot of deep-sea diving in the storyline) and have John "discover" it with them (the cousins, Jeanne and Edouard).
It's all a production.
To make sure it looks authentic, the two had already done a sea diving run with John prior, so it didn't look so suspicious when the Venus turns up all of a sudden. As if there are a lot of treasures to be found in the mud of the sea.
Oh ... John also asked Jeanne to marry him, right after they "discover" the Venus and have their picture taken for the newspaper. When he asks her, she runs ... Literally. She just stares at him wide-eyed and runs.
We find out it's because she's in love with him too and doesn't want him to find out who she is and what the Bonnets actually do ... for a living. It's this that makes her suddenly change course. She doesn't want to carry through with the plan for "the Venus" by selling it to the Herendeen and making a substantial amount of money from the sale.
Later, Jeanne and Edouard devise a plan (thought up by Jeanne, which took her multiple rehearsals), memorizing every detail, to get John to run after Jeanne (who will be "hiding" at the Val) where she's to look as though she's had an accident (presumably because she was driving like mad).
Edouard bursts in to tell John he must go find Jeanne because she might do something foolish with the Venus (that is in the car with Jeanne, in a wooded box) in order to get a dowry to marry John because she's in love with him!
John practically takes off without a by-your-leave, saying all he heard was Jeanne is in love with him, rushing to go find and stop Jeanne from doing anything rash (all playing into Jeanne's plan), finding her on the edge of the Val, where he witnesses the box slide out of the car, over the Val, falling 75 feet when ... WAIT FOR IT ...
... The Venus frees itself from the box.
As the box descends ... The Venus rises ... into the air ... glittering. With a crowd of onlookers in amazement watching ... Venus Rising. Literally. As everyone watches in awe, the Venus finally begins to descend to the bottom of the Val where it smashes into a thousand pieces, shattering, where all is left is dust.
WAIT FOR IT ...
Edouard bursts in to tell John he must go find Jeanne because she might do something foolish with the Venus (that is in the car with Jeanne, in a wooded box) in order to get a dowry to marry John because she's in love with him!
John practically takes off without a by-your-leave, saying all he heard was Jeanne is in love with him, rushing to go find and stop Jeanne from doing anything rash (all playing into Jeanne's plan), finding her on the edge of the Val, where he witnesses the box slide out of the car, over the Val, falling 75 feet when ... WAIT FOR IT ...
... The Venus frees itself from the box.
As the box descends ... The Venus rises ... into the air ... glittering. With a crowd of onlookers in amazement watching ... Venus Rising. Literally. As everyone watches in awe, the Venus finally begins to descend to the bottom of the Val where it smashes into a thousand pieces, shattering, where all is left is dust.
WAIT FOR IT ...
... A year later, through discussion between Charles, the Countess, Louis, and Edouard, we find out Jeanne and John are married, and the Venus is in South America, displayed on a pedestal.
We find out everything that happened the night of the "Venus rising" was all calculated by Jeanne, even knowing it would rain that night and wash all the evidence of dust from "the Venus" away, which we find out was a plaster copy creation done by ... none other than Louis. BUT! the mastermind of the operation from beginning to end ... was Jeanne. Who (along with the hubs) has invited Edouard to America (where they live now) for the Summer and before he departs upon accepting the invitation, is reminded by "the gang" to tell Jeanne about a "Renoir" piece they've discovered, because ... Yep. Jeanne's still in the business.
We find out everything that happened the night of the "Venus rising" was all calculated by Jeanne, even knowing it would rain that night and wash all the evidence of dust from "the Venus" away, which we find out was a plaster copy creation done by ... none other than Louis. BUT! the mastermind of the operation from beginning to end ... was Jeanne. Who (along with the hubs) has invited Edouard to America (where they live now) for the Summer and before he departs upon accepting the invitation, is reminded by "the gang" to tell Jeanne about a "Renoir" piece they've discovered, because ... Yep. Jeanne's still in the business.
In short, as much as I love the film adaptation, I love everything about the short story!! That Jeanne was the head of the family business and doesn't give it up, was perfect for the story.
I suppose I understand why they changed it so much for the film, and I am glad we get the film we get, but, if it were ever readapted, I'd opt for a direct (though expanded) adaptation of the short story.
I suppose I understand why they changed it so much for the film, and I am glad we get the film we get, but, if it were ever readapted, I'd opt for a direct (though expanded) adaptation of the short story.
I could see it all play out in my mind while reading like a cross between today's adapts of James Bond/THE MAN FROM U.N.C.L.E/OCEAN'S 11/12/13.
Gosh, would **love** to adapt a film like that onto screen myself. Like seriously! Hmmm ...
Gosh, would **love** to adapt a film like that onto screen myself. Like seriously! Hmmm ...
Anyhow, hope this all made sense and that you guys enjoyed my take on the story! If you've read it, plan on reading it, or just want to give a nod on the film, you can find me @DominiqueRevue on Twitter. Drop by and let me know. Until then, you can catch HOW TO STEAL A MILLION on TCM this SUNDAY, June 13, 2021 @ 7pm CT!
À bientôt!
À bientôt!
For my blog piece on another Audrey Hepburn book/story-to-film picture, read my write-up on SABRINA FAIR ... aka ... SABRINA (1954).
For my other CINEMA COFFEE blog pieces:
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame" | CINEMA COFFEE: I would rather lose ma whip than lose ma Daisy! | CINEMA COFFEE: D'ENTRE LES MORTS goes VERTIGO
#ForMyMom Cinema Coffee ... | COFFEE CINEMA: Talking Streetcar | CINEMA COFFEE: "Et tu, Brute?" | CINEMA COFFEE: "La Chocolaterie" | CINEMA COFFEE: "Milk? I loathe milk!" | CINEMA COFFEE: "Elderberry Wine ..." | CINEMA COFFEE: "The choice I never had ..." | CINEMA COFFEE: "The smell of Mimosa" | CINEMA COFFEE: "Mighty like a Rose" | CINEMA COFFEE: "Don't cry on the rolls" | CINEMA COFFEE: "You're the first Kansas I ever met" | CINEMA COFFEE: "Everybody calls me Gracie" | CINEMA COFFEE: "What the devil are Belinskis?!" | CINEMA COFFEE: "Hello friends and enemies." | CINEMA COFFEE: "Stop remindin' me of heaven." | CINEMA COFFEE: "Even Gatsby could happen" | CINEMA COFFEE: "I made a wish" | CINEMA COFFEE: Audie Murphy | CINEMA COFFEE: Put The Blame on Mame | CINEMA COFFEE: "Just Singleton." | CINEMA COFFEE: "Where I Come From, Nobody Knows" | Film Therapy: Coping through Cinema | CINEMA COFFEE: Socks fall down | CINEMA COFFEE: "The moon's reaching for me" | CINEMA COFFEE: The Horne: Luso World Cinema Blogathon | CINEMA COFFEE: Aunt Bettye Lightsy | CINEMA COFFEE: I never lose | CINEMA COFFEE: "I have a mother!" | CINEMA COFFEE: THE SIGN OF GEMINI | CINEMA COFFEE: Venus Rising | CINEMA COFFEE: Stan vs Geek | CINEMA COFFEE: "Positively the same dame" | CINEMA COFFEE: I would rather lose ma whip than lose ma Daisy! | CINEMA COFFEE: D'ENTRE LES MORTS goes VERTIGO