The Mastermind (M) – 111 minutes

The word “mastermind” suggests a person of outstanding intellect, who can think through the most complex of problems.

That is hardly how I would describe the antihero at the heart of the film The Mastermind.

His name is James Blaine Mooney (Josh O’Connor), a failed architect, who in 1970 organises stealing four Arthur Dove paintings from a Massachusetts art gallery.

Married with two boys, his father – a judge – “rides him” for not having a job.

He waves in Mooney’s face the success of the latter’s former school mate and now architect who is doing well.

But JB, as he is known, has bigger plans.

After casing out the Framingham Museum of Art and borrowing money from his mother on a pretence, he engages a few stooges to do the dirty work for him.

Mind you, one of them does the dirty on him.

Nevertheless, once the deed is done, JB diligently hides the paintings, only to face exposure when one of his lackies spills, after being caught executing a bank robbery.

So, it is that Mooney goes on the lam.

With his options fast dwindling, his fate is sealed with an unexpected ending to the film.

Things were a lot looser in small town American in 1970, which enabled JB’s plan to be executed in the first instance.

Still, we are talking about a time of disquiet in the USA, when hippies were prominent and anti-Vietnam war protests were rife.

It is into this environment that writer and director Kelly Reichardt (Showing Up) drops James Blaine Mooney.

Long fascinated by art heists, The Mastermind was specifically inspired by the 1972 robbery of the Worcester Art Museum.

That is when two Gaugins, a Picasso and a Rembrandt were stolen, but Reichardt, who went to art school in Massachusetts, deliberately positioned JB down market.

The key is that as much as he may think he has, Mooney hasn’t really thought through his plan, specifically his choice of assistants.

That is where the whole thing starts unravelling.

Reichardt brings a matter-of-fact style to The Mastermind that differentiates the picture from other, more sophisticated art theft films.

Slow moving, Josh O’Connor’s laconic representation of JB serves the storyline well.

He plays the part so you don’t love him or loathe him.

Alana Haim is Mooney’s wife, Terri – a working woman of few words, who asks, and seemingly expects, little of her husband.

One of the more interesting characters is Mooney’s former art school friend, Fred (John Magaro), with whom JB seeks refuge.

Fred seems genuinely chuffed to see his old mate, especially in the circumstances, and wants to help him.

Magaro brings warmth to his role, which, as the filmmaker presumably intended, is severely lacking in all the other characterisations.

I also appreciated the period detail that production designer Anthony Gasparro brings to bear.

The Mastermind was first seen at this year Cannes Film Festival, where it competed for the coveted Palme d’Or (the highest prize awarded to the best feature film).

While its downbeat style won’t suit everyone, I liked what I saw.

The movie rises and falls on the back of Josh O’Connor’s portrayal, which he handles well and appropriately, given Reichardt approach to the material.

Rated M, it scores a 7½ out of 10.