Cómo robar un millón de dólares

Título original: How to Steal a Million

1966
Approved
2h 3min

CALIFICACIÓN DE IMDb

7.5/10

31 k

TU CALIFICACIÓN

Reproducir trailer1:01

4 videos

99+ fotos

Caper Comedy Crime Romance

Una mujer que debe robar una estatua de un museo de París para ocultar las falsificaciones de arte de su padre encuentra a un hombre que puede ayudarla.Una mujer que debe robar una estatua de un museo de París para ocultar las falsificaciones de arte de su padre encuentra a un hombre que puede ayudarla.Una mujer que debe robar una estatua de un museo de París para ocultar las falsificaciones de arte de su padre encuentra a un hombre que puede ayudarla.

Ver la información de producción en IMDbPro

CALIFICACIÓN DE IMDb

7.5/10

31 k

TU CALIFICACIÓN

Ver la información de producción en IMDbPro

Premios
- 1 nominación en total

Auctioneer
(as Roger Treville)

Edward Malin

Insurance Clerk
(as Eddie Malin)

Bert Bertram

Marcel

Georg Stanford Brown

Waiter
(sin créditos)

Louise Chevalier

Cleaning Woman
(sin créditos)

Rémy Longa

Young Man
(sin créditos)

Pierre Mirat

Guard
(sin créditos)

Jacques Ramade

Guard
(sin créditos)

Olga Valéry

Lady with the dog
(sin créditos)

Argumento

Editar

¿Sabías que…?

Editar

Trivia
Walter Matthau was the first choice for the Eli Wallach part but was asking $200,000, so the producers opted for the less expensive George C. Scott. Scott had been on the set for a few weeks before shooting began. However, on his first day of shooting, he didn't show up until after lunch, and director William Wyler decided to fire him. He was already finding it difficult to handle two heavy drinkers, Peter O'Toole and Hugh Griffith, and the prospect of a third was just too overwhelming. On hearing of Scott's removal from the production, Audrey Hepburn became quite inconsolable.

Errores
When Bonnet gives the curator the statue, the curator touches the white marble with his bare hands. A real curator would never touch a marble work of art with bare hands, as the oils from the skin can stain the marble, turning it yellow. Curators always wear white gloves before touching any work of art.

Citas
[Nicole describes the burglar to her Papa]
Nicole Bonnet: Well, it was pitch dark and there he was. Tall, blue eyes, slim, quite good-looking... in a brutal, mean way, Papa. A terrible man!

Conexiones
Featured in Star Wars: Music by John Williams (1980)

Bandas sonoras
La Marseillaise
(1792) (uncredited)
Written by Claude Joseph Rouget de Lisle
In the score when the statue is transported to the museum

Opiniones de usuarios144

Opinión

Opinión destacada

9/10

Charm to burn.

Leave aside for the moment the two leads, Audrey Hepburn and Peter O'Toole, both at the very pinnacle of their star power and attractiveness. Leave aside, too, the brilliant support of two comedy masters, Eli Wallach and Hugh Griffith. And the sheen of William Wyler's direction, honed to perfection over a long, award-winning career. And the sparkling dialogue of old-pro scenarist Harry Kurnitz. And the beautiful location photography in that most beautiful of cities, Paris. And John Williams' sprightly score, and the rich production design, and the exquisite costumes, and every other perfectly-executed facet of this gleaming gem of a film. And concentrate on one single moment: in the museum, in the cupboard under the stairs, when Audrey Hepburn's character realizes that Peter O'Toole is going through everything he's going through, including breaking the law even though he's a policeman, simply because he's fallen in love with her. The expression on Hepburn's face is one of those truly sublime moments that make movies what they can be: bigger than life, more real, more joyous, more true. And for that alone we can be grateful that this movie is available for us and our posterity to enjoy.