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)
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“[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)
“The problem of culture is seldom grasped correctly. The goal of a culture is not the greatest possible happiness of a people, nor is it the unhindered development of all their talents; instead, culture shows itself in the correct proportion of these developments. Its aim points beyond earthly happiness: the production of great works is the aim of culture.”
—Friedrich Nietzsche (1844–1900)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)