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Grand Slam

Grand Slam

Crime · Thriller · 1967

Professor James Anders is a seemingly mild-mannered teacher, an American working in Rio De Janeiro. Anders, bored with years of teaching, decides to put together a team to pull off a diamond heist during the Rio Carnival. Four international experts are brought together to carry out the robbery: a safe cracking expert, a master thief, a mechanical genius, and a playboy.

Movie details

Grand Slam

“These men are in... for the crime of their lives.”

1967 Crime · Thriller 2h 1m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Professor James Anders is a seemingly mild-mannered teacher, an American working in Rio De Janeiro. Anders, bored with years of teaching, decides to put together a team to pull off a diamond heist during the Rio Carnival. Four international experts are brought together to carry out the robbery: a safe cracking expert, a master thief, a mechanical genius, and a playboy.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Grand Slam?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Where it lives

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Cinema release signals and current streaming, rental, and purchase options for your region.

Streaming availability data supplied by JustWatch.

Names above the title

The people responsible.

Directed by

Giuliano Montaldo

Written by

Paolo Bianchini · Mino Roli · Augusto Caminito · Marcello Fondato

Janet Leigh

Janet Leigh

Mary Ann

Robert Hoffmann

Robert Hoffmann

Jean-Paul Audry

Klaus Kinski

Klaus Kinski

Erich Weiss

Riccardo Cucciolla

Riccardo Cucciolla

Agostino Rossi

George Rigaud

George Rigaud

Gregg Hutchinson

Adolfo Celi

Adolfo Celi

Mark Milford

Edward G. Robinson

Edward G. Robinson

Prof. James Anders

Court is in session

Put Grand Slam on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Big-Idea Head

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.