In 1968, Peter Ustinov reached back into the past to create a film more than 20 years ahead of its time. His goal in making Hot Millions was to re-capture the whimsical charm of the classic British comedies of the '40s and '50s, such as The Lavender Hill Mob (1951) and The Ladykillers (1955), both of which starred Alec Guinness. But Hot Millions is also prophetic in its depiction of a situation that would become a reality decades later -- an embezzler is put out of business by the dawn of the computer age. He ultimately strikes back by engineering an elaborate heist via the new modern technology.

The idea was first developed by television producer Mildred Freed Alberg, who would make her big-screen producing debut with the picture. She turned it over to screenwriter Ira Wallach, whose previous films included The Wheeler Dealers (1963) and Don't Make Waves (1967), both of which dealt with minor con artists. When Ustinov came on board as a writer, he re-shaped the project, honing the characters' eccentricities in the spirit of the classic British film comedies. They then hired director Eric Till, an Englishman who had started out directing Canadian television series like The Forest Rangers (1964).

Most of the casting was done by Ustinov, who also played the male lead. He suggested going with Karl Malden, better known for straight dramatic roles, as the villainous business magnate and casting comedian Bob Newhart, in his first major screen role, as the corporate gadfly who dogs Ustinov's steps throughout the caper.

Ustinov's smartest move, however, was casting Maggie Smith as the inept secretary who becomes his character's love interest. She wasn't the first choice. Originally, he wanted Lynn Redgrave, hot off the success of Georgy Girl, the 1966 film that made her an international star. Pregnancy forced her to drop out of the film, opening the door for Smith. Ironically, Smith was just getting back to work after the birth of her first child, Christopher Stephens, who would appear briefly in the film. Known to filmgoers primarily for finely etched supporting performances in such films as The V.I.P.s (1963) and The Pumpkin Eater (1964), Smith's facility with a wide range of comic styles, from slapstick to romantic comedy, proved a revelation to critics and audiences. Ustinov would hail her as the most sensitive actress he had ever worked with, and throughout the shoot threw extra bits and lines her way to turn the role into a comic showcase.

Another highlight of the production for Ustinov was the chance to conduct a symphony orchestra on screen as his character lives out his fondest dreams. Ustinov himself had always been fascinated with conducting and spent hours conducting his collection of classical recordings with a baton friends had given him one Christmas. The orchestra performed live for the filming, following his leadership precisely. After the first take, he told Till, "I've never done that before -- what power!" (Quoted in Ustinov in Focus.)

Hot Millions won solid reviews and brought Ustinov and Wallach Oscar®: and Writers Guild Award nominations for their screenplay. It also helped launch Smith's and Newhart's film careers, but it was generally overlooked by the ticket-buying public who didn't realize what they were missing. Over the years, however, Hot Millions has acquired a cult following among those who like their comedies with a healthy dose of wit and quirky charm.

Producer: Mildred Freed Alberg
Director: Eric Till
Screenplay: Ira Wallach and Peter Ustinov
Cinematography: Ken Higgins
Art Direction: Bill Andrews
Music: Laurie Johnson
Principal Cast: Peter Ustinov (Marcus Pendleton), Maggie Smith (Patty Terwilliger), Karl Malden (Carlton J. Klemper), Bob Newhart (Willard C. Gnatpole), Robert Morley (Caesar Smith), Cesar Romero (Customs Inspector).
C-107m. Letterboxed. Closed captioning.

by Frank Miller