I really enjoyed the Eiffel Tower sequence, having visited Paris, albeit 55 years later. It was interesting to note the things that have changed and the things that remain unchanged. Those bronze touristy statuettes are still sold, along with a 21st century fiberoptic variety. The scenes in Rio De Janiero were also very atmospheric and the contrast with the realization, in the end, that the entire story has been the confession of a surrendering man, is impressive. Lastly, the sets for the hotel were mind-numbingly detailed and fit perfectly with the mood the piece was trying to convey. There was copious amounts of clutter and it was worn and blurred with age. Yet it was lively and eccentric and unpredictable at the same time, ready to burst out of a shell like the two protagonists of the story who finally get a chance to stretch their wings and be free if only for a moment. And if only to demonstrate the futility of a life of crime, an untapped aspiration that lies deep in the psyches of us all, at least as Freud would have us believe. This desire and romantic fascination, probed by the piece as a whole, is given a really human and relatable personification in the body of Mrs. Chalk, another unasuming character who is suprisingly a mystery/crime novel junkie with whom Holland shares devoted reading sessions every afternoon. Despite these themes and a heist-centered plot, the film had an infectious sense of humor, fun, and energy, buoyed by a brilliant cast, that ultimately make it one of the most memorable of the Ealing comedies.
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