Production
Ambler's novel is different from the movie on several counts, with the story narrated by Simpson (named Arthur Abdel Simpson in the book), so that the reader only gradually comes to work out what Harper and his associates are really up to. Simpson in the book is blackmailed into driving the car to Istanbul after Harper catches him trying to steal Harper's travelers' checks. The book features frequent flashbacks to Simpson's schooldays in England, which help to explain his character and motives more clearly than in the film.
According to Jules Dassin, he originally planned to cast Peter Sellers as Simpson, but Sellers refused to work with Maximilian Schell, who he claimed had the reputation for being difficult. Dassin was not prepared to dispense with Schell, and so cast Ustinov in place of Sellers.
Although he played one of the movie's leading roles, Peter Ustinov was nominated in 1964 for—and won—the Academy Award for Best Supporting Actor rather than the Academy Award for Best Actor for his portrayal of Simpson. In an interview given on Ustinov's death in 2004, Maximilian Schell surmised that this may have been due to the misconception that a servile individual like Simpson could only be portrayed via a "supporting actor" role.
Appearing in supporting roles were Gilles Ségal as the human "fly" and Joe Dassin as Joseph, who runs the traveling fair display that is supposed to smuggle the dagger out of Turkey. The athletic Ségal later inspired other 'trickwire' stunts, including a few used for the Mission Impossible TV show and movie. Joseph (Joe) Dassin was the son of Topkapi's director Jules Dassin: he appeared as an actor in a handful of films, but was better known as a singer-songwriter.
The film was shot on location in Istanbul, Turkey, and in Paris at the Boulogne-Billancourt Studios.
Read more about this topic: Topkapi (film)
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“It is part of the educator’s responsibility to see equally to two things: First, that the problem grows out of the conditions of the experience being had in the present, and that it is within the range of the capacity of students; and, secondly, that it is such that it arouses in the learner an active quest for information and for production of new ideas. The new facts and new ideas thus obtained become the ground for further experiences in which new problems are presented.”
—John Dewey (1859–1952)
“[T]he asphaltum contains an exactly requisite amount of sulphides for production of rubber tires. This brown material also contains “ichthyol,” a medicinal preparation used externally, in Webster’s clarifying phrase, “as an alterant and discutient.””
—State of Utah, U.S. public relief program (1935-1943)