| Fotos (ver todos los 13 | slideshow) |
| Melina Mercouri | ... | Elizabeth Lipp | |
| Peter Ustinov | ... | Arthur Simon Simpson | |
| Maximilian Schell | ... | Walter Harper | |
| Robert Morley | ... | Cedric Page | |
| Jess Hahn | ... | Hans Fisher | |
| Gilles Ségal | ... | Giulio the Human Fly | |
| Akim Tamiroff | ... | Gerven the Cook | |
| Titos Vandis | ... | Harback (as Titos Wandis) | |
| Ege Ernart | ... | Maj. Ali Tufan | |
| Senih Orkan | ... | First Shadow | |
| Ahmet Danyal Topatan | ... | Second Shadow | |
| Joseph Dassin | ... | Josef | |
| Despo Diamantidou | ... | Voula | |
| listado alfabético del resto del reparto: | |||
| Bedri Çavusoglu | ... | Police officer (uncredited) | |
| Amy Dalby | ... | Nanny (uncredited) | |
| Jules Dassin | ... | Turkish cop (uncredited) | |
Dirigida por | |||
| Jules Dassin | |||
Créditos del guión | ||
| Eric Ambler | (novel "The Light of Day") | |
| Monja Danischewsky | (screenplay) | |
Producida por | |||
| Jules Dassin | .... | producer | |
| Roger Dwyre | .... | associate producer | |
| Lee Katz | .... | associate producer (uncredited) | |
Música original por | |||
| Manos Hatzidakis | (as Manos Hadjidakis) | ||
Fotografía por | |||
| Henri Alekan | (director of photography) | ||
Montaje por | |||
| Roger Dwyre | |||
Departamento de maquillaje | |||
| Amato Garbini | .... | makeup artist | |
Dirección de producción | |||
| André Cultet | .... | production manager (as Andre Cultet) | |
| Claude Hauser | .... | assistant production manager | |
Ayudante de dirección | |||
| Ali Cakus | .... | second assistant director | |
| Joseph Dassin | .... | second assistant director | |
| Stepan Melikyan | .... | second assistant director | |
| Tom Pevsner | .... | assistant director | |
Departamento de Arte | |||
| Jacques Douy | .... | assistant sets | |
| Max Douy | .... | sets | |
| André Labussière | .... | set dresser (as Andre Labussiere) | |
Departamento de sonido | |||
| William Robert Sivel | .... | sound engineer (as William Sivel) | |
Visual Effects | |||
| Jean Fouchet | .... | optical effects | |
Departamento de vestuario | |||
| Theoni V. Aldredge | .... | costumes (as Denny Vachlioti) | |
Departamento de Edición | |||
| Patrick Clement-Bayard | .... | assistant editor | |
| Johnny Dwyre | .... | assistant editor | |
| Daniele Grimberg | .... | assistant editor (as Danielle Grimberg) | |
Otros miembros del equipo | |||
| Jean Fouchet | .... | title designer: main titles | |
| Lucie Lichtig | .... | script | |
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| Ocean's Eleven | Sneakers | Welcome to Collinwood | The Anderson Tapes | Du rififi chez les hommes |
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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IMDb Calificación de los usuarios:
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| Reparto y Personal Completos | Créditos de la compañía | Críticas externas |
| IMDb Aventura section | IMDb USA section | Add this title to MyMovies |
Melina Mercouri introduces herself as a thief who doesn't hide the way she feels about the most wonderful emeralds She wants to rob a dagger encrusted with fascinating gemstones
One of her potential partners is her former lover Maximilian Schell, a very distinguished crook who fights at his best when he fights in a corner Schell wants to pick his crew from amateurs with no police records, and strike the most protected fortress
Peter Ustinov won his first Best Supporting Oscar for his amusing performance as the clever middle-aged 'nobody' who could have gone far but he always plays for small stakes
Ustinov is the victim of circumstances, caught at the Turkish border with a riffle and six grenades For that, his mission is to spy on the spies, and report to the Turkish security everything he overhears-no matter how trivial it may seem to him The police gives him a chance to prove that he is not a terrorist He accepts to work with them
With a funny toy man who proposes to get into the palace museum without touching the floor; a mute acrobat who talks with his whole body; a mad muscle man who hates a drunken cook; a showman with no problems at the customs border; plus Islamic mosques; ancient streets; colorful bazaars; oiled wrestlers; talented belly dancers; and fable roofs; "Topkapi" overlooks both the Sea of Marmara and the Bosphorus, offering bright moments with a final suspense sequence in the 'Rififi' manner