I just saw it, and I’m very confused about the ending. Maybe there’s a huge plot hole, or maybe I missed something, but I don’t know why she was angry.
Well, because he played her. He was playing everyone the whole time. The painting that he stole was in the museum all along, hidden under a watercolor camouflage. He knew–even counted on the fact–that she would betray him and have the police waiting for him at the museum. Then, when she tried to catch up with him at the landing pad so she could run away with him, he let her think he was gone for good–a love forever lost. That’ll ruin your week, make you feel pretty damned awful. Then when he shows up behind her on the plane, she knows that he had played her once again. Wouldn’t you be a bit upset if someone toyed with your emotions like that? Of course, she seemed to get over it pretty quickly, too. I mean, her anger at the end didn’t last long, did it?
“Like a circle in a spiral, like a wheel within a wheel…”
What a rotten remake…
Thomas Crown, in the original, gave the betty a chance. She turned it down as a good insurance investigator would and he went bye-bye. Much better ending…
I love both films. I consider them almost different films tho as they are so unalike. I really enjoy that they used an older woman (by hollywood standards) as the sexy heroine in the remake (as opposed to say Entrapment blech), it’s not often you get to see an older actress in that role.
It’s Pierce Brosnan, people.
I think I could forgive him pretty much anything.
I didn’t know it was a remake…when was the original done?
Pierce Brosnon… <faraway look>
…
um… what were you saying?
1968, with Steve McQueen and Faye Dunaway.
The original’s a bit more rough & tumble, but I never was convinced that McQueen was a genuine man of sophistication. Never an issue with Brosnan. I think being an art thief rather than a bank robber also adds an additional element of class that makes him more sympathetic as a criminal. And Faye Dunaway may be a better actress, but Rene Russo is hotter (chess scene notwithstanding).
Plus, the final setpiece, all synched to Nina Simone’s divine Sinnerman, is magnificently staged. Here’s a good example of a remake, reconceived for more contemporary sensibilities, being better than the original.