In 1966, Peter Sellers sought to work with renowned Italian neorealist director Vittorio De Sica, bringing aboard playwright Neil Simon to pen his first screenplay. Despite De Sica's reported gambling debts motivating his involvement, the collaboration proved challenging. De Sica struggled with Simon's script and Sellers' performance style, while conflicts arose over casting choices, including Sellers' then-wife Britt Ekland. Join us – Pete Wright and Andy Nelson – as we continue the Heist Films series with a conversation about De Sica’s 1966 film After the Fox.

The film weaves together elements of heist capers and Hollywood satire, following master criminal Aldo "The Fox" Vanucci as he poses as an Italian film director to orchestrate a gold heist. While the premise shows promise, the movie struggles to balance its dual identity as both heist film and industry commentary. However, the stellar performances, particularly from Sellers and Victor Mature (playing a delightfully self-aware version of himself), help elevate the material beyond its structural issues.

• Peter Sellers' multiple disguises and his protective relationship with his sister (played by then-wife Britt Ekland)
• Victor Mature's comeback performance lampooning his own image
• The film's satirical take on moviemaking and celebrity culture
• Burt Bacharach's memorable earworm title song
• The clever setup of the heist using a film production as cover
• A somewhat disappointing climactic car chase that fails to deliver on the film's early promise

While After the Fox may not fully succeed as either a heist film or industry satire, it offers enough charm and laughs to warrant attention. The film's unique blend of crime caper and showbiz satire, combined with Sellers' comedic prowess, makes it an entertaining entry in both his filmography and the heist genre. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!

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