In 1966, upon the release of William Wyler’s alluring caper film, How to Steal a Million, which can be rented with a Prime subscription, then-New York Times film critic Bosley Crowther began his review of the film with a compelling question: Are art and deception synonymous?
The writer, inviting readers to behold an entrancing Audrey Hepburn and a dapper Peter O’Toole as they orchestrate a romantic art heist in the cheeky, high-fashion caper film, writes:
