The Good Thief is the richest and most gritty slice of cinema that Neil Jordan has delivered since The Crying Game. If there is an actor who can bring the sexy and the stray dog charm like Nick Nolte (even in his most unshaven and disheveled shape) I can't think of who it would be. The Good Thief takes it's name from the gentleman who had the privilege of being crucified alongside Christ and whose faith was rewarded with guided tour of paradise with one of it's most celebrated denizens. This is the metaphor that Nolte chooses for himself, a heroin addicted professional gambler who has done several years for burglary.

Yet even in this state of disgrace, the shambling juggernaut that is Nolte is well-thought-of among the nocturnal dwellers of Nice France and even has a friendly relationship with a police detective (Tcheky Karyo), hell in the first five minutes he managers to save his life from the resident crime boss Remi (Marc Lavoine) who lords over illegal gambling and hookers. We meet Nolte in the women's restroom tied-off and ready to push off the same time he meets Anne (Nutsa Kukhianidze), a fresh-from-Russia 17 year old hooker who walks in on him. Rather than being abashed, he uses the opportunity to get her vital information and throw her a little charm as well. This seen precedes his heroics as he not only save the cop but preserves the future of Anna by snatching her passport from Remi's pocket.

All in a days work for this Ugly American who carries himself and pretty much enjoys a status akin to the Junkie John Wayne. Though all of the supporting cast are great (including Ralph Fiennes as an art fence) but this is Nolte's show and he makes the most of it. In his most addled and jonesed suffering he waxes philosophic and about Lady Luck and the nature of her cyclical appearance. As it tuns out the mercurial gal is about to pay him a visit. One of his former partners in crime comes to him with an art heist that tempts the old croaker to come out of retirement.

His first order of business is to put himself through rehab. Which he accomplishes by handcuffing himself to his bed, with a puke bucket and a bed pan and gives someone the key who is able to resist his begging. 3 Days of this and Nolte is reborn and when he cleans up and dons a tux for a little casino casing of the crime he is as handsome as any man in France.
The Heist involves a diversionary tactics or two and some high tech assistance that never becomes implausible. The Heist itself doesn't exactly go as written up and I shant spoil anymore as to how the film ends. The end is somewhat irrelevant as it is the fun of getting there and watching Neil Jordan coax a practically flawless performance out of Nolte. It should be noted that this quirky, gritty painting of a film was also written by Jordan loosely based on Jean Pierre Melville's 1955 French film titled Bob Le Flambeur.

Jordan manages to turn an addict into a lovable character as well as Bertrand Taverier did with Dexter Gordon in 'Round Midnight. The rangle gangle swagger of Nolte is a work of art as is his addled philosophy on everything from gambling, numerology and art. His hero is Pablo Picasso, whom he describes as the best thief that ever lived - since he borrowed from hundreds of other artists in order to achieve his distinctive style. The Good Thief is Nolte's Masterpiece.