After his release from prison, Duke Anderson (Sean Connery) compiles a team to pull a heist. They plan to rob all the apartments inside an affluent Manhattan block.
Under-discussed today, The Anderson Tapes is the prototypical caper movie. Its influence can be felt everywhere in the sub-genre, including Ocean’s Eleven (2001). A truly outstanding film, The Anderson Tapes’ crown jewel is the visionary, detailed and professional direction from the preeminent Sidney Lumet. Lumet helmed several heist movies, like Before the Devil Knows You’re Dead (2007), but The Anderson Tapes is undoubtedly his best. His directorial expertise is evident in the incredible climax: through the choreography of stunts and action, as well as the elicitation of emotive performances.
Moreover, Lumet’s genius is also palpable in a tracking shot of Duke Anderson leaving prison. After he has departed through the doors, the camera lingers inside for a moment. This signifies Duke crossing the threshold back into criminality, past ‘the point of no return.’ Lumet’s intelligence and artistry is such that moments like these are given the appropriate gravitas. What is more, The Anderson Tapes is well-plotted, funny and stylish, with a groovy funk score from Quincy Jones. There is an early appearance from a young Christopher Walken.
Crucially, The Anderson Tapes is not merely one of the 1970s’ most entertaining crime thrillers. Through an examination of gender roles, it asks what constitutes true love and loyalty. Whilst depicting the advent of surveillance equipment, it probes into though-provoking social commentary. At the beginning, Connery’s character retorts to a criticism of his criminality. “What’s advertising, but a legalised con game? And what the hell’s marriage? Extortion, prostitution, soliciting, with a government stamp on it. And what the hell’s your stock market? A fixed horse race. Some business guy steals a bank, he’s a big success story. Face in all the magazines. Some other guy steals the magazine and he’s busted.”