THE THOMAS CROWN AFFAIR. 1999. Pierce Brosnan, Rene Russo, Denis Leary, Ben Gazzara, Faye Dunaway. Director: John McTiernan.

   A remake, of course, of the film with the same title that starred Steve McQueen and Faye Dunaway in 1968. To most critics, the remake suffered in comparison, but except for a few plot holes, but major ones, I liked this more recent version just fine. Of course, while my wife Judy says we saw the earlier film when it came out, I don’t remember it at all, for whatever that’s worth. (The link leads to Roger Ebert’s online review. Even when I don’t agree with him, I find myself nodding my head as I read his work, agreeing with every word he says.)

   As a matter of fact, I’ve just watched this more recent version twice. Over the period of three evenings I watched it once all the way through, and then, split over the last two nights, I watched it again with the director’s voice-over commentary turned on.

   Which I found fascinating. The technical terms are beyond me, what with dolly shots and so on, the former apparently an all-but-forgotten skill, with impressive results, but as he goes along McTiernan also points out little bits and pieces which he realizes that the audience doesn’t really grasp the significance of as they’re watching, including me, but which (perhaps subliminally) begin to add up and start them thinking in the right direction. (Or later on to say, aha, that’s what that was all about.)

   Story line: fabulously wealthy financier Thomas Crown (Brosnan) steals in elaborate fashion a valuable painting by Monet from an unnamed Manhattan Museum of Art. Immediately on the case is Catherine Banning, insurance investigator, tough as nails and all woman (Russo). Her instincts are also immediately on target, as she picks Crown for the crime the first day she’s on the job.

   She confronts him directly, in violation of all standard police procedure, and thus the game begins. Denis Leary plays the role of Detective Michael McCann, and even though he’s obviously attracted to her, all he can do is stand back and watch the sparks spy.

   You have to take the point of view of view, as the script strongly suggests, that stealing works of art is only a prank, a jest, and teasing the cops is all part of the fun. In that sense it’s Brosnan and Russo’s movie all the way, with lots of smooth, colorful photography to illustrate the lives of the rich and the semi-famous. (Detective McCann, in contrast, lives alone, in a dumpy apartment with a TV on the kitchen table. He’s a good sort, though, not jealous – well, maybe just a little, but what can he do?)

   At the time the movie played in the theaters, there was a great to-do about Miss Russo’s nude scenes, with a lot made of the fact that she was 45 at the time. Rightfully so. She is also a very good actress, having plenty of opportunity to demonstrate both her repertoire of facial expressions and fully clothed body language.

   Faye Dunaway, from the first movie, has an extended cameo role as Crown’s psychiatrist, giving Pierce Brosnan, as the man on the couch, plenty of opportunity to look reflective and puzzled about his own thoughts and behavior. Nonetheless, Miss Russo, who seems to grow softer and more feminine as the movie goes on, shows a bit more range. Even her ever-changing hair-styles are expressive.