Don't' be put off by the 'gimmick' of a dialog-free movie. THE THIEF is an engrossing, extremely well-made movie. Right off the bat we can expect quality with Ray Milland in the lead: the man could act. And THE THIEF is a graphic demonstration of how acting requires much, much more than good line-reading. Milland immerses himself in the drama from the word go, and we almost never think of him as an actor until the end, when the impact of the film really hits. This is a powerful performance, in the league of some of the best from the silent era (only more realistic in style). Russell Rouse presents us with a story that bristles with suspense in some scenes. First time around, it may be a slight challenge to know what's going on, but it's soon clear that exact details are not important. We only need to know that Milland plays a Washington D.C. scientist who is microfilming top-secret government documents and passing them on to agents who remain obscure. His main contact is played very nicely by Martin Gabel, an actor with a face perfect for sinister, wordless intrigue.
Just as important as the acting and directing is the music score. Hershel Burke Gilbert must have outdone himself for this project. This is an excellent score. Never obtrusive, always supportive of the action; pleasing, but never calling attention to itself. The music really makes the film work. An example of how intelligent the approach to the scoring is comes at the film's climax when Milland is followed to the very top of the Empire State Building, the music stops completely for about ten minutes. The effect is downright Hitchcockian -- an extremely effective sequence.
Also worthy of mention is the persistent use of locations: D.C and New York in 1952 are almost characters unto themselves. This is another superb film that document the bygone look of some great urban locations. Very highly recommended.
Just as important as the acting and directing is the music score. Hershel Burke Gilbert must have outdone himself for this project. This is an excellent score. Never obtrusive, always supportive of the action; pleasing, but never calling attention to itself. The music really makes the film work. An example of how intelligent the approach to the scoring is comes at the film's climax when Milland is followed to the very top of the Empire State Building, the music stops completely for about ten minutes. The effect is downright Hitchcockian -- an extremely effective sequence.
Also worthy of mention is the persistent use of locations: D.C and New York in 1952 are almost characters unto themselves. This is another superb film that document the bygone look of some great urban locations. Very highly recommended.