Rififi

If any film approaches perfection, this is the one. Pound for pound and scene for scene it is the best. The only others even close are the Maltese Falcon and Asphalt Jungle, but this is the baby that beats even them. For sheer black and white beauty it is the equal of Asphalt, and just never lets up. Its ending is one of the best of all time, easily the equal of Citizen Kane. And making it even more amazing it that it was cobbled together in desperation: and made for practically nothing. In short, a bloody miracle.

It builds beautifully. Everything in it works, even down to the great music of George Auric.

Shot in early winter or late spring, it is authentic down to the white gangster breaths on the air. Paris never looked more dangerously beautiful.

Of all the films I have ever seen, it is the only one I would give a nine and a half to. And since most of it works very well without comment, probably it is best to just say, watch it and behold.

'Rififi' is so damn good it takes your breath away! Director Jules Dassin, blacklisted from Hollywood, was living almost hand to mouth in Europe and taking any job he could get, when he made this movie, a project he was initially not at all excited by. Happily he turned around an awful situation and ended up making a classic thriller which is still one of the greatest crime movies ever made. One of the most influential too, having an impact on movies like 'The Killing', 'The Anderson Tapes', 'Thief', 'Reservoir Dogs', 'The Score' and many, many others. 'Rififi' is a classic heist movie but it is much more than that, it is a superbly written and acted character study. The robbery sequence itself is regarded as one of the most impressive in film history, but it is by no means the only thing worth watching this movie for. In fact I'd go so far as to call it perfect. Every time you watch it you discover something more of interest. Jean Servais, who later appeared in the entertaining horror sexploitation movie 'The Devil's Nightmare', is absolutely wonderful as Tony, a veteran criminal talked into joining his young friend Jo (Carl Mohner) in a daring robbery. His performance is first rate, but Mohner and the rest of the cast are equally good, including Drassin himself as Cesar, an Italian safe-cracker who inadvertently causes the gangs ultimate downfall. There's a brilliant scene between Servais and Drassin towards the end of the movie which is short but unforgettable. Look out for it. Truffaut raved about this movie calling it the best Noir he'd ever seen. I don't think he was exaggerating, it really IS that good, and personally I think it's a much better movie than Truffaut's more celebrated 'Breathless'. If you enjoy crime thrillers it doesn't get much better than this! Highly recommended!

According to the song "Rififi" that one character sings in the film, the title means "rough and tumble". That is a good description of the underworld characters that inhabit this film. The action starts when Tony, who recently was released after five years in prison, re-establishes contact with family and friends, who quickly lure him into a jewel caper. These guys are pros and, with Tony's guidance, they meticulously plan the heist.

The execution of their plan takes place without dialogue or background music, accentuating the silence so necessary for their plan.

In most heist films, the job itself is the final, climactic part of the story. In Rififi, the real story takes place after the job. Without revealing too much, I will say that this is a film about human nature. It reminds us that individuals almost never change their natures.

Furthermore, almost all the characters in this film have their vices or weaknesses. The film talks about "the rules", the unwritten principles that guide the actions of gangsters and conmen alike (for example, not ratting on associates). Due to their weaknesses, many of the characters violate the rules and fall prey to others.

One scene to look for is when Cesar visits the jewelry store to case the security. He asks to use the phone, leaving his cash splayed over the countertop--a strategy of distraction that also is a basic con (confidence game).

This film is blessed with topflight direction, great photography, good acting and a lean, well-written script.

You're back outside, after a little time confined, your close friends make you an offer you decline, but after a little contemplation, your respond with affirmation, and counter with a scheme that's more refined. The team is gathered, and the plans are put in place, no stone unturned, and nothing is misplaced, the execution is sublime, pulling off the perfect crime, just keep your heads down, you haven't left a trace. Alas distractions bring your work to the attention, of other villains, putting gains under contention, best endeavours have been flawed, a cascade of cheat and fraud, on this occasion, without salvation, and no redemption.

Great story, great performances, perfectly executed (almost).

I heard they were going to remake this French classic in 2007, and I see it is in development for 2011. This will be a shame, as Hollywood kicked writer/director Jules Dassin out because of the infamous blacklist. They should not have the right to remake any of his films.

I love "caper" films and "film noir," and this combines the best of both.

Tony (Jean Servais) gets out after doing a nickle, and after he beats up his old girlfriend (Marie Sabouret), he plans a big score with his friends Mario (Robert Manuel) and Jo (Carl Möhner), What makes this a great caper flick is the attention to detail in planning the robbery. You see that reflected in the George Clooney Vegas capers. Nothing is left to chance.

The caper goes off great but Grutter (Marcel Lupovici) sends his sons, Robert Hossein and Pierre Grasset after Tony and the gang. After blowing it with Mario, they kidnap Jo's son. Lots of bullets fly before it is over.

A great film by a great director. The standard by which other caper films are measured.