William Wyler’s How to Steal a Million (1966) is a cinematic soufflé, rising with airy elegance yet grounded by a knowing wink at its own absurdity. This romantic caper, set against the glittering backdrop of 1960s Paris, thrives on the interplay of Audrey Hepburn’s luminous Nicole Bonnet and Peter O’Toole’s roguish Simon Dermott, whose chemistry crackles like champagne bubbles. Wyler, a director renowned for his precision, crafts a film that feels both meticulously staged and delightfully spontaneous, balancing the heist genre’s tension with screwball comedy’s levity. The screenplay, penned by Harry Kurnitz, is a masterclass in pacing, weaving witty banter with a plot that hinges on a forged sculpture and a plan to steal it to save Nicole’s family from scandal. Its dialogue sparkles, particularly in Hepburn’s breathless delivery, which imbues even the most far-fetched moments with sincerity.

The film’s true triumph lies in its visual language. Cinematographer Charles Lang bathes Paris in a golden glow, with the city’s boulevards and museums serving as more than mere settings they’re characters in their own right, exuding a timeless allure that elevates the narrative. The heist sequence, set in the fictional Kléber-Lafayette Museum, is a standout, using silence and shadow to build suspense without resorting to overwrought theatrics. Wyler’s restraint here is notable; he trusts the audience to lean into the tension of a broom closet hideout, where Hepburn and O’Toole’s whispered exchanges pulse with intimacy.

Yet, the film isn’t flawless. The score by John Williams (credited as Johnny), while playful, occasionally feels overeager, nudging scenes toward whimsy when subtlety might have sufficed. Additionally, the supporting cast, though competent, lacks the depth to match the leads’ magnetism, leaving some moments feeling like appetizers to the main course of Hepburn and O’Toole. The plot, while clever, leans heavily on contrivance how many art forgers conveniently have a dashing thief on speed dial? Still, these are minor quibbles in a film that knows its strengths and plays to them with unabashed glee.

Hepburn’s performance is the heart of the film, her wide-eyed charm masking a steely resolve that makes Nicole more than a damsel. O’Toole, with his sly grin and effortless charisma, matches her step for step, their dynamic a dance of mutual deception and burgeoning affection. How to Steal a Million doesn’t aim for profundity, but its artistry lies in its refusal to take itself too seriously, delivering a confection that lingers like a perfect Parisian evening.