Matrixston Wow! Such a good movie.

Lovesusti The Worst Film Ever

MamaGravity good back-story, and good acting

Sharkflei Your blood may run cold, but you now find yourself pinioned to the story.

Leofwine_draca DEADFALL is one of those late 1960s films that seems a little unsure of itself. It's meant to be a heist film but there's too much character baggage getting in the way and no amount of suspense at all, so it's certainly not a thriller. The presence of Michael Caine as the film's lead means that he spends most of the time romancing ladies like Nanette Newman, making this a sub-ALFIE type picture. There are some elements of sex and perversion in the story but these only seem to existent due to the loosening of censorship during the era. Certainly it's a film in which the actors are wasted, not least poor old Caine himself, making a dud before the decade was out.

George Sargent Michael Caine stars in the 1968 film Deadfall as a poker-faced, dare- devil, cat-burglar and love maker who tries his luck in exotic Spain. Agreeing to go in with a married couple on the next big job, Caine falls in love with the beautiful Fé Moreau (Giovanna Ralli) as lured secrets are revealed about her husband. The film blends picturesque shots of sunny Spain with intense close-ups of the never blinking Michael Caine and others. At 145 minutes, however, the plot appears to progress at a pedestrian pace with a great deal of frustratingly elusive dialogue. Caine carries the film on his own two shoulders with his brooding charisma, while the other actors are sadly lacking. There is some exciting action near the beginning of the film as Caine muscles his way through a classic heist, but it gently peters out into not so shocking revelations about the slimy looking husband in the tweed suit.

Neil Doyle DEADFALL is a lushly photographed suspense story with a cat burglar theme, wallowing in a full bodied John Barry score--especially during the major heist involving MICHAEL CAINE's high climbing bit where he's breaking into a playboy's mansion. Clever editing permits cross-cutting between a concert hall suite and the burglary in progress. GIOVANNA RALLI is the pretty Italian woman married to the mastermind of the burglary--ERIC PORTMAN--an aged homosexual.After the main burglary, the story sags from mid-point onward with talky scenes between Caine and Ralli where she talks about her failed marriage and revelations of a sordid kind. All of this leads toward a downbeat ending with explanations made that are supposed to be shocking but don't have the desired impact because by then the pace of the film has become too lethargic.ERIC PORTMAN gets the best lines but the dialog is hardly up to the caliber of Tennessee Williams and that's what is needed here, considering the sort of material the story deals with.Summing up: Handsomely photographed on locations in England and Spain, it's a so-so crime caper after a solidly suspenseful burglary. The John Williams score is its biggest asset.

NEIL-213 This may not be Michael Caines worst film,but it is almost certainly his worst performance.It has to be said the writing does not help him ,he comes across as a charmless cad with little to no humanity in evidence.Eric Portman as the sexually challenged partner in crime tries hard,but can find nothing in the script to help make a rounded character.Although caine was only in his 30s when he made this some of the physical abilities required in this crime movie would be beyond the efforts of a professional athlete.All in all a really bad movie with a dreadful if not deserved ending.Most movies have something going for them in this case it is the music.