Topkapi maybe the perfect cinematic experience: a technically precise entertainment that balances hearty laughs and unbearable tension to improve on Jules Dassin's earlier "Rififi" by merely upping the characterization.

Nice plotting. And that heist scene!!!!!!!

This is a fun little heist film, which takes a while to engage the audience, in part because of some rather bizarre introductions. It's a parody of sorts of director Jules Dassin's original heist caper, Rififi, but the actual heist is worth waiting for, as the tension is quite...well, intense. A very self-conscious film, with bizarre (to modern audiences) elements that pays off in the end.

Deliciosa comedia ,aunque se note el paso de los años , mantiene su interes .Peliculas como Mision Imposible y Ocean Eleven le deben las ideas a este film . Lo mejor la escena del robo filmada con maestria digna de Hitchcock y el personaje de Peter Ustinov.

This has been one of the most admired and imitated caper films of all time. Sure, it was made in the 60's, so don't look for MTV -type edits, but the story is a lot of fun, keeps you guessing right up until the end, and the characters and settings are very memorable. Peter Ustinov won an Academy Award for his performance, certainly one of his best -- and that's saying a lot. If you're in the business, and haven't yet seen Topkapi, you owe it to yourself to see it.

A dizzying kaleidoscope of action, comedy and technicolor. Dassin proves his mastery over colour film as he did with black and white.

A very enjoyable 60's heist movie starring Peter Ustinov, Robert Morley and Maximilian Schell. Not as slick as Ocean's 11, but a lot more tongue in cheek. Peter Ustinov is great, but not worthy of an Oscar award. 1964 must have been a very bad year.

Dated caper yarn that still holds up rather well. Ustinov gets to flex a muscle too.

Saw this greatest of all caper films theatrically in 1964, and it inspired in me a determination to go to the Topkapi museum in Istanbul and see the sultan's dagger. It took 35 years to fulfill this ambition, but I finally did it in 1999.

Jules Dassin is the master of the hiest genre in "Topkapi". I found the film rather entertaining particularly the great hiest sequence which is reminescent to Dassin's early picture "Raffi". The cast is pretty good. You got Melina Mercouri, Peter Ustinov, Robert Morley and Maximilian Schell who reminded me of Daniel Day-Lewis.

Damn, this was a good caper film.

Between a 7/10 and 8/10, it's one of the very best heist films ever made, Topkapi provides the template for the many lighthearted capers that came later.

My second Jules Dassinâ(TM)s film after NIGHT AND THE CITY (1950, 7/10), and out of my expectation itâ(TM)s an exotic Turkish heist adventurer with a blithe tone and meticulous detail-solidification with regard to the theft action.The film starts with a tawdry but foxy Melina Mercouri (Dassinâ(TM)s muse and future wife) enigmatically introducing her craving to steal the most precious jewelled dagger from Topkapi museum, her kitschy costume and the settings are antiquated enough to divert the film into a burlesque frivolousness, but when her entire team assembles (including the male-counterpart mastermind Maximilian Schell), with an additional interlope, a small-con âschmoâ? (the Oscar-winning Peter Ustinov), the film regains its vigour and flair in its strongest form to manoeuvre a seamless treasure-replacement theft, benchmarks an exemplar of its genre which haven't been overshadowed since then, the escape strategy during a Turkish old-wrestling (Kırkpınar) pageantry is no less pleasant to watch against the trickeryâ(TM)s predictability, and far more thrilling is the actual stunts which thoroughly generate a gravitating magnetism on the screen lest as little as one needleâ(TM)s dropping would scupper the plan. But the pathos-bathos irrefutably comes in the end, in the public media, where no one should dare wrote an ode to theft, no matter how benevolent those convicts are in person, thus the finale has to be a received compromise which still is in line with the filmic light-hearted air. Ustinov, is so congenital and always oozes a screen-friendly affability and warmth in his presence, whose second Oscar win of a borderline supporting role is well-earned by lifting the entertainment-heavy film onto a stratum of character-engaging experience. An appearance combo of Debra Messing and Anne Bancroft, the nymphomaniac Melina Mercouri stands still as the shallow and narrow-written role of an anti-femme fatale brain, and a gorgeous Maximilian Schell is shamefully eclipsed by his chubby sidekick, whose circumscribed performance nevertheless at least arouse my curiosity to delve into his filmography a bit deeper.

A bunch of weird, unintelligible, Europeans attempt a painfully boring heist. The end.

A group of thieves recruit a bumbling fool in their quest to steal a dagger from a museum.In the tradition of Ocean's Eleven this is a decently plotted heist film. There are a few plot twists that give the script a clever feel, but it's pretty basic. The best part of the film is Best Supporting Actor Oscar-winner Peter Ustinov who makes us both pity and sympathize with Arthur Simpson. Sometimes he's too dumb to know better, and other times he's just clever enough to make him likable. I didn't like the film's style; the opening credit sequence reminded me of an Adam West Batman fight, and Melina Mercoun's performance as Elizabeth Lipp quickly annoyed me; she's the drunk girl in the bar who can go home with anyone else but me.Overall, Topkapi is light and sometimes fun but innocuous.