Film Review: The Thomas Crown Affair (1968)

The phrase “style over substance” is often synonymous with the sleek, MTV-influenced aesthetics of 1980s Hollywood, where visual flair frequently overshadowed narrative depth. Yet, this ethos can be traced to earlier eras, as Oscar-winning director Norman Jewison himself observed when describing his 1968 heist film The Thomas Crown Affair. A product of its time, the movie’s glossy, stylised approach to storytelling and characterisation has rendered it something of a period piece, despite its star-studded cast and innovative technical contributions. While its themes of rebellion against institutional authority and sexual tension between its leads retain a certain timeless appeal, the film’s prioritisation of aesthetic experimentation over emotional or intellectual rigour ultimately limits its lasting impact.

The plot revolves around a meticulously planned heist orchestrated by Thomas Crown (Steve McQueen), a wealthy financier whose expertise in banking enables him to execute a flawless robbery of a Boston bank, netting $2.6 million. The heist is carried out by strangers, each recruited by Crown through anonymous intermediaries, ensuring no one knows his identity. Enter Detective Eddy Malone (Paul Burke), whose ineptitude in solving the case drives him to collaborate with Vicki Anderson (Faye Dunaway), a sharp-witted insurance investigator motivated by the substantial reward. Her deduction that the perpetrator must possess insider knowledge of banking systems quickly points to Crown, prompting her to engage in a cat-and-mouse game blending intellectual sparring and calculated flirtation. However, the dynamics shift as Crown and Anderson’s mutual attraction complicates her mission, blurring the lines between pursuit and seduction.

Jewison’s film marked his follow-up to the Oscar-winning In the Heat of the Night (1967), a project that balanced social commentary with tight storytelling. Here, however, he opted for a more experimental approach, assembling a team that included editor Hal Ashby (later renowned for Harold and Maude and Being There) and cinematographer Haskell Wexler, whose technical expertise lent the film its striking visual identity. The soundtrack, composed by Michel Legrand and featuring the Oscar-winning “Windmills of Your Mind,” further elevated the film’s stylishness, weaving a melancholic yet sophisticated tone that underscored its themes of intellectual and emotional gamesmanship. Yet, despite these talents, the project struggled to cohere into a cohesive whole, with Jewison’s direction prioritising form over function.

The casting of Steve McQueen and Faye Dunaway presented both strengths and pitfalls. McQueen, then at the height of his “King of Cool” persona, was a curious choice for the role of Crown—a character whose refined, upper-class sophistication contrasted sharply with McQueen’s usual portrayals of rugged, blue-collar heroes. His performance, while competent, occasionally felt out of sync with the role’s demands, as he struggled to convey the calculated charm and cerebral detachment required of a man who views crime as an elaborate art project. Dunaway, by contrast, thrived in her role as Vicki, embodying a woman whose glamorous exterior masks a ruthless pragmatism. Her chemistry with McQueen is undeniable, though the script’s reliance on clichéd gender dynamics—particularly the trope of a woman using her sexuality as a weapon—feels dated and reductive.

The screenplay, written by Boston lawyer-turned-screenwriter Alan Trustman, drew from his expertise in financial systems to lend authenticity to the heist’s planning. However, its true innovation lay in its defiance of Hollywood’s then-eroding Production Code, which had previously mandated that criminals face punishment. By allowing Crown to evade justice, the script tapped into the anti-establishment sentiment of late-1960s audiences, framing the heist as an act of rebellion against capitalist institutions. Yet Trustman’s script falters in its characterisation; Crown and Vicki’s relationship remains underdeveloped, their attraction more plot device than emotional journey. The dialogue, at times stilted and overly expository, undermines the film’s potential for wit and tension.

Jewison’s direction frequently prioritises visual experimentation over narrative clarity, with nods to French New Wave techniques such as slow-motion sequences, split screens, and abrupt tonal shifts. These choices, while visually arresting, often serve as distraction rather than enhancement. The film’s climactic chess match between Crown and Vicki—a prolonged, stylised sequence filled with implied eroticism—is its most memorable moment, its abstract symbolism and rhythmic editing transcending the story’s limitations. In contrast, the heist itself plays out in a mannered, almost detached fashion, its technical precision overshadowed by its lack of emotional stakes. The final act, in which Crown’s motives remain frustratingly opaque, leaves audiences with more questions than answers, further diminishing the film’s emotional resonance.

Despite its flaws, The Thomas Crown Affair achieved modest commercial success and remains a curiosity for its blend of glamour and intellectual posturing. However, its legacy is overshadowed by John McTiernan’s 1999 remake, starring Pierce Brosnan and Rene Russo. That version streamlined the narrative, deepened the characters, and balanced style with substance in a way the original never quite managed. While the 1968 film’s self-conscious artistry and star power ensure its historical significance, it ultimately feels like a missed opportunity—a glossy, intriguing experiment that never quite ignites into true greatness.

RATING: 5/10 (+)

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