NOTE: This is not a new review. I originally wrote it in 2011. I’m not sure why I was so convinced Ustinov had a hand in the direction, other than the fact that he directed several films himself.
Amusing caper comedy from Peter Ustinov, who stars and co-wrote the script (and, I’m guessing, may have helped with the direction). The story: a con-artist and financial wizard (Ustinov decides to fleece a corporation by becoming its resident computer guru and setting up bogus companies all over Europe, then pocketing the corporation’s subsidies.
It’s a film which couldn’t be made now, in large part due to the advances of technology; the computer in question is one of those room-filling, tape-spool-spinning models that were superseded even by HAL 9000 the same year this came out—but no matter. This computer, the M-505, relies for security on, it would appear, a blue light. No, it isn’t made any clearer in the film, but it’s no great matter. Ustinov’s caper is clever enough to breeze past this.
Ustinov himself is quite funny, as one of those rogues whom the audience can see right through but who manages to skate right past any obstacle; Maggie Smith, in an uncharacteristic role, plays his flighty secretary who first marries him and then, in a final twist, saves his skin. She proves to be quite delightful. Karl Malden is good value as an affably foolish CEO, constantly gulping tranquilizers, while Bob Newhart complements him well as his repressed subordinate (with the impossibly satirical name of Willard C. Gnatpole).
Robert Morley has a great cameo as a computer expert and moth enthusiast whose name and position Ustinov appropriates; Cesar Romero has a cameo as a Brazilian customs inspector, who memorably upbraids Malden over a can of instant coffee (“You’re bringing instant coffee to Brazil? I won’t dignify this by confiscating it!”).
The script by Ustinov and Ira Wallach was nominated for an Oscar, and deservedly so; it’s bright and clever, and wastes little time in setting up the situation while also boasting likable, and, for a farce, reasonably believable characters. Eric Till’s direction is fairly basic, with a few witty touches (which, again, I suspect Ustinov heavily influenced); it’s perfectly adequate nonetheless. The technical aspects are all perfectly adequate, the computer being delightfully dated.
Hot Millions was an unexpected critical success at the time, and that it has fallen into obscurity is a shame. It’s a warm and funny film, and one which treats computers with as much, or even more, intelligence as Hollywood generally has since.
Score: I didn’t officially score Hot Millions at the time, but going off my review and my memories of it, I feel like it’s a solid high ***. So I’ll give it a 75
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