Hollywood loves a good "what if" story, but sometimes the reality is even better. When people talk about Peter O'Toole and Audrey Hepburn, they usually picture that iconic, cramped broom closet scene in How to Steal a Million.
You know the one.
They’re huddled together in a tiny museum cupboard, dodging flashlights, and the tension is so thick you could cut it with a palette knife. It’s one of the most charming moments in 1960s cinema. Honestly, it’s a miracle they finished the movie at all given how much they supposedly cracked each other up.
The Heist That Saved a Legacy
The 1966 film How to Steal a Million wasn't just another payday. For Hepburn, it was a chance to work again with William Wyler, the man who basically launched her career with Roman Holiday. For O’Toole, it was a departure. He was the "Lawrence of Arabia" guy—intense, brooding, and classically trained.
Nobody really knew if his manic energy would mesh with Hepburn’s refined, gamine elegance.
The plot is basically a fever dream of mid-century aesthetics. Hepburn plays Nicole Bonnet, the daughter of a legendary art forger. When her father (the hilarious Hugh Griffith) lends a fake "Cellini Venus" to a Paris museum, Nicole realizes the museum’s new security tests will expose the fraud and land her dad in prison.
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Her solution? Hire a burglar.
Enter Simon Dermott, played by O'Toole. Only, he isn't actually a burglar. He’s an art detective who was investigating her father in the first place. But he’s so smitten with Nicole that he decides to help her rob the museum anyway.
Why the Peter O'Toole and Audrey Hepburn Chemistry Worked
Chemistry is a weird thing. You can't fake it, and you certainly can't manufacture it with a big budget. On paper, these two were opposites.
O’Toole was a legendary hell-raiser. He lived for the late-night jazz clubs of Paris and a good drink. Hepburn was the epitome of discipline and grace. Yet, they clicked instantly.
During the shoot at the Studios de Boulogne, the two became notorious for "corpsing"—an industry term for breaking into uncontrollable laughter during a take. Wyler, usually a strict taskmaster who demanded dozens of takes, actually didn't mind. He realized the genuine fun they were having was translating onto the screen.
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- The Blue Eyes Factor: Cinematographer Charles Lang had his work cut out for him. Both stars had famously striking eyes—Hepburn’s dark and expressive, O’Toole’s a piercing, almost translucent blue.
- The Givenchy Element: It wouldn't be a Hepburn movie without Hubert de Givenchy. He designed her entire wardrobe, including that famous black lace mask. There’s a meta-joke in the film where O’Toole tells her to change into a cleaning lady outfit, saying it "gives Givenchy a night off."
- The "French Schedule": Filming in Paris meant they worked on the French schedule: starting at noon and working straight through until 7:30 PM. This allowed for long, "civilized" dinners at 9:00 PM. It also meant O’Toole could nurse his hangovers in the morning and still show up perfectly on time with his lines memorized.
What Most People Get Wrong About the Production
A common misconception is that the movie was a massive smash hit. In reality, it was a bit of a slow burner. According to Fox records, the film needed about $12 million to break even but only brought in about $10.45 million initially. It wasn't a "flop," but it wasn't the box-office juggernaut the studio hoped for.
Another detail people miss? The art.
Production designer Alexandre Trauner didn't just buy props. He hired real Parisian artists to create authentic-looking fakes of Van Gogh, Renoir, and Rembrandt. They spent roughly $100,000 on the "masterpieces" and another $50,000 on genuine antique frames. The fakes were so good that rumors circulated about real thieves trying to swipe the props during the shoot.
The Legend of the Broom Closet
The heist sequence takes up nearly the entire final hour of the film. It’s remarkably simple by today’s Ocean’s Eleven standards. They use magnets, a boomerang, and a lot of patience.
But the heart of it is that closet.
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Peter O'Toole later recalled that filming in such close quarters with Hepburn was "sheer delight." He admired her immensely, once saying that God perhaps "made someone really perfect" when He created her.
The Lasting Impact of the Duo
Despite their incredible rapport, O’Toole and Hepburn never made another movie together. It’s one of those Hollywood tragedies. O’Toole went on to do The Lion in Winter (with the other Hepburn, Katharine), and Audrey began to retreat from the spotlight to focus on her family and later her work with UNICEF.
If you're looking to revisit this classic, here is how to get the most out of the experience:
- Watch the eyes: Pay attention to the scene where they first meet in the Bonnet mansion. The way O’Toole looks at her over the top of a "Van Gogh" is a masterclass in screen presence.
- Listen to the score: This was one of John Williams' early projects (credited as "Johnny Williams"). You can hear the beginnings of his whimsical style that would later define films like Home Alone.
- Check the locations: While the Bonnet mansion at 38 Rue Parmentier was demolished and replaced by apartments, you can still visit the Musée Carnavalet in the Marais district, which served as the exterior for the fictional Kléber-Lafayette Museum.
Why You Should Care Today
In an era of CGI-heavy action, How to Steal a Million feels like a breath of fresh air. It relies entirely on wit, timing, and the magnetic pull between its two leads.
The professional friendship between Peter O'Toole and Audrey Hepburn serves as a reminder that the best movie magic usually happens when the actors are actually having a blast. They weren't just "playing" a romantic couple; they were two titans of the silver screen enjoying each other's company in a city they both loved.
If you want to dive deeper into 1960s caper cinema, your next step should be a double feature. Pair How to Steal a Million with Stanley Donen’s Charade. It’s the only way to truly appreciate how Hepburn could turn a heist into the most sophisticated thing you’ve ever seen.