How to Steal the World (1968)

I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

It's hard to see any effort in the film. There's no comedy to speak of, no real drama and, worst of all.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

This is a dark and sometimes deeply uncomfortable drama

The men from UNCLE are at it again. This time attempting to stop Barry Sullivan and company from wrecking the world.Fans of Irwin Allen TV shows such as Voyage to the Bottom of the Sea and Lost In Space should get blast out of this film. Sutton Roley directed some of the best Irwin Allen TV hours, including Voyage's The Phantom Strikes, and Roley brings his very unusual directing talents to How To Steal The World.In UNCLE, Roley puts the camera under glass tables or above boats at sea. Or up close to the actors. Even without seeing the credits, I always knew when Roley was directing a 1960s TV hour. He actually caused Irwin Allen a head ache or two when he opened up Voyage's submarine Seaview set (which was a no, no) so he could get the camera closer to faces of the crew.Away from the director, How To Steal The World is a fine film and I don't really understand the negative reviews here.

Every long-running television series has an episode (sometimes several) that got red-lighted after the first rough edit and never broadcast. "The Seven Wonders of the World Affair" a/k/a "How to Steal the World" (1968) started out as "The Man from U.N.C.L.E." episode with this dubious honor. Unfortunately the footage was placed in storage rather than destroyed; then once the series had been notified of its cancellation (in the middle of its fourth season) and could not be hurt by such a bad episode; the original footage was resurrected, reassembled, expanded, and broadcast.And since the ill-conceived episode was not needed as a tax write-off, the producers decided to expand it into feature length and give it a theatrical release overseas. They had already enjoyed success with the technique, releasing all the two-part episodes in a similar manner (although unlike this one these others had been originally intended to be double the one-hour running time). In any case the dusted off version ran for two weeks in late 1967 on US television; as the last two episodes of the series. This allowed the series to go out with a whimper; few cared at the time because the counterculture revolution ("Bonnie and Clyde" – "The Graduate" – etc.) had made the spy premise pretty much irrelevant. "The Seven Wonders of the World Affair" feels more like a "Star Trek" episode or even "Logan's Run" than anything to do with U.N.C.L.E. They were building the new terminal at LAX at the time and were able to shoot most of the original footage at the building site. It probably looked futuristic in 1966-67, but looks extremely lame today (and probably looked moronic by 1968 when people would have recognized it as the new airport). The el-cheapo production design is not helped by the use of really ill-matched stock footage; some so scratched that it is quite laughable. The episode inexplicably lacks what had been the two main strengths of the series; the banter between Robert Vaughn and David McCallum, and the casting of many of Hollywood's hottest young starlets in substantial supporting roles. The premise is the standard idealistic scientist (Barry Sullivan) whose discovery (a gas that makes people peaceful and less aggressive) is about to be misused by evil people. In this case T.H.R.U.S.H. The only thing to watch for is late 1940's-early 50's film star Eleanor Parker, who plays Sullivan's wife, who just happens to be in league with T.H.R.U.S.H. Parker is extremely talented and somehow manages to breathe a bit of life into the lame script. And she has one cool scene where her head is pressed against the top of a glass table; the camera shoots her face from below-distorted by the glass.Then again, what do I know? I'm only a child.

How To Steal The World was the eighth and final spin-off from "The Man From UNCLE" spy series. It was compiled from the final episodes of the series, "The Seven Wonders Of The World Affair" (part one: 8/01/1968) and (part two: 15/01/1968). The story began life as a single episode but was stretched to feature length so that producer Norman Felton could release another theatrical movie overseas. As with the others, the TV version was not aired in the countries where the movie was released such as Britain.Napoleon Solo and Illya Kuriyakin link the abduction of various VIP's with a plot to dominate the world. The mastermind behind it is Robert Kingsley (Barry Sullivan) an ex-UNCLE agent who plans to end all evil by launching a docility gas that Dr Kurt Erikson (Albert Paulsen),a top bio-chemist has developed with the help of the abducted VIP's.All in all, How To Steal The World is a disappointment and clearly shows that it was padded out from a one-hour episode to make a feature film. The plot is lacklustre and its absurdities do not carry the same weight here as they did in its predecessors mainly because the tongue-in-cheek chemistry between Vaughn and McCallam, which made the series so popular has faded. Even Barry Sullivan's villain, Robert Kingsley, is a poorly conceived part as he seems like a big softy compared to his predecessors such as Luther Sebastian (Bradford Dillman) in "The Helicopter Spies" (1967). The supporting cast includes a young Leslie Nielsen who offers the best acting as an ex-army general who will go to any lengths to protect Kingsley's scheme even if it means killing people and both he and Kingsley are always colliding over each other's different ways of dealing with saboteurs.

"How to Steal the World" was the last of eight (!) movies MGM culled from "The Man From U.N.C.L.E." and released to cinemas outside North America, and in fact it was put together from the final story of the series (the two-part episode "The Seven Wonders Of The World Affair"). Alas, even if you didn't know it was from the last episodes you could tell the end was near - neither Vaughn nor McCallum has his heart in this latest U.N.C.L.E. vs T.H.R.U.S.H. escapade, and indeed no one else (except for Leslie Nielsen) can be bothered to act with conviction. Limply written and directed, and with Jerry Goldsmith conspicuously absent from the credits for his theme, this is a depressing experience all round. (Mind you, so was the fourth season of the show.) Stick with the other seven ersatz movies.