It’s not the most well crafted documentary around, but director Jamie Roberts‘ film “Vjeran Tomic: The Spider-Man of Paris” certainly has an interesting story to tell about the 2010 robbery of the Paris Museum of Modern Art. It was the biggest art heist in French history, with $100 million worth of rare masterpieces stolen (and as of present, never recovered). The documentary lets the burglar behind it all, Vjeran Tomic, tell the story in his own words but also incorporates dramatic re-enactments to build tension and excitement. By interviewing the detectives, museum curators, and other victims of various robberies, the film captures a detailed portrait (pun intended) of a master thief at work.
Tomic is an interesting and complex character, especially as he reveals his rough childhood. His abusive father led him towards a life of delinquency, and he started to steal when he was only eight years old. You can see Tomic’s eyes light up as he looks back on the joys and thrills that came from the lure of easy money at such a young age. Every piece of his life fits to form a complete profile of a professional bandit, including a stint in the Army where he learned his climbing skills that would help him scale buildings during getaways. He’s also the type of man that demands acknowledgement and praise of his tendency to be smarter and better than everyone else in the room.
The life history sets the scene of a man who was born smart, determined, and tough. Tomic was so successful as a thief because he never failed to meticulously plan. With the art museum in Paris, he took his time casing the exterior. He did plenty of research before finding the weakest point of the building was a set of windows. Thinking it through with precision, Tomic devised a blueprint for stealing and rehearsed it over and over in his head.
The film plays like a how-to guide for the wannabe art thief, and it’s shocking how easy Tomic makes all of it look. We learn his methods, his extremely diligent planning process, the near-flawless execution, how law enforcement found him, and his eventual confession to the crime.
It’s shocking that Tomic breaks in alone, using everyday supplies purchased at a neighborhood hardware store. When the night of the burglary arrives, he’s in and out with very little effort. One of the funniest scenes in the movie comes after Tomic has stolen five paintings and realizes that he could’ve taken even more. He thinks of doubling back, but changes his mind because the hardest part of the entire heist was carrying the armful of art out the door and across the street (and nobody wants that hassle).
Of course, there’s nothing humorous to the art world about missing works of such great importance, and Roberts freely lets his subjects candidly vent their anger. It’s interesting that none of the stolen works were ever found because they were supposedly destroyed, and everyone seems to be in denial of this fact.
Tomic doesn’t hide his distaste for the super wealthy, and he made it a personal mission to become a sort of modern day Robin Hood. He discusses with glee how easy it was to steal from the rich, as if he was providing a public service.
“Vjeran Tomic: The Spider-Man of Paris” is a niche documentary that can be a little dry, but art lovers and fans of a good heist story will find this one of particular interest. And here’s hoping the five works will eventually resurface sometime in the future.
By: Louisa Moore
Screen Zealots 