India, Nov. 2 -- "Life Imitates Art" or "Art Imitates Life" -- this age-old existential debate has just had quite a field day, quite a collision at the Louvre in France. Filmdom must already be spinning and spawning scripts to immortalise the seven minutes of dashing daredevilry. Hollywood and Bollywood must already be in a race to be the first to scream 'Lights, camera, action" to make their millions from the $100-million heist. The Louvre's fifteen minutes of infame merit claps on certain counts. That within hours of the Louvre break-in, "breaking news" blokes to bloggers were vying with each other to churn out lists of flicks fashioned after famous heists, proved how much the world loves a heist. It validated how much the world loves a heist for its three V's -- vulnerability, vintage vibes and victory. It proved how badly the world, torn by the three T's --- Trump, trade wars and territorial wars --- needed this distraction. It showed how well-timed was the distraction quotient, be it its own jaw-dropping timing, be it its timeline for the turmoil-ridden world. The Louvre heist also deserves applause for stirring a spate of nostalgia. For tickling Tweeple to trundle off on trips down cinematic memory lane. Nothing like an exquisitely executed heist to uncork cinematic nostalgia. Girlhood was about growing up on some spectacular screen heists. Before Bollywood had dished out its brand of recent heist dramas --- Dhoom, Don 2, Aankhen & Co, our teenagehood had already been initiated into the dishy heist heroes of Hollywood. From the George Clooney-Brad Pitt "Ocean's" outings to Antonio Banderas' action, Hollywood has a history of making heists in fashion, and also fashionable. "How To Steal A Million", with the Audrey Hepburn-Peter O' Toole chemistry, heralded for Hollywood heists the four C's ---chutzpah, class, couture and chic. The Banderas brand of heist was especially delicious to our girlhood, for it too coupled a high-voltage heist with hot-blooded romance. Never did a "thief" look more dapper and drool-worthy than in "My Mom's New Boyfriend". One remembers swooning over the Antonio Banderas-Meg Ryan chemistry. The "My Mom's New Boyfriend" drama was a delectable ode to the romanticism of a heist. Romanticism of a conman's head, romanticism of a mastermind's heart Nostalgia also came knocking in other ways. Close on the heels of the heist, cameras outside the Louvre spotted a dude with demeanour and dress code decidedly detective-worthy. The pret and panache of the stranger triggered memories of another of cinema's cult figures. Inspector Clouseau of the "Pink Panther" franchise. In times loaded with cynicism, the Louvre heist is laudatory for its narrative of optimism and romanticism. In a world where half the governments and their plans don't work, the heist oozes oodles of optimism that one masterstroke of a plan worked! The heist is a heartening muse for a masterclass for sarkari non-performers and bombastic babudom. At a time when cloud seeding for snuffing out smog can go wrong, the heist gives ample reason to be on cloud nine. Last but not least, the Louvre heist deserves a thunderous applause for another significant reason. For cocking a snook at artificial intelligence. In a world increasingly infiltrated by "Big Brother" AI, the heist is an unapologetic, unabashed celebration of human intelligence. It is a poetic ode to the human craft of conmanship. The heist is as human as it gets. The curious case of "Con BanegaCrorepati"....