Rififi

Directed by an black-listed American, served as an inspiration to movies like The Killing, Reservoir dogs, Score etc. The characterization was dealt perfectly for this Noir movie with splendid photography too. Many violent scenes are executed with no/minimum gore. Over 50 years since its release and IMO one of the best heist movies. A small issue could be the predictability in the story as many of the later movies had stolen this idea . Favorite scenes in the movie includes 1) the silent robbery scene that happens in the middle of the film which is a nail-bitter. 2) The climax scene. The bottom line is that the movie team had no trouble with script, screenplay or direction and watching this was such a treat.

Tony le Stéphanois gets out early after 5 years in prison. He has a plan to rob the jewelry store Mappin & Webb with his friends Jo and the Italian Mario Ferrati. He finds his old girlfriend Mado who abandoned him for the gangster Louis Grutter. He viciously beats her. For the job, he wants to hit the safe and gets Cesar the Milanese. The heist goes off perfectly but that's not the end of it.

It's a French heist film with more realism. It is well done with good intense acting. The most interesting thing is how modern the movie is. The formula is well set now, but it was probably more groundbreaking back then. These are the modern anti-hero protagonists.

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.

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Or vice-versa.

This is a French film noir directed by an American film maker (Jules Dassin) who had to leave the country because of being blacklisted by Hollywood thanks to HUAC. The premise of the story is rather familiar--one last jewel heist for Tony le Stephanois and his buds--and so is the ending with everybody getting... Well, no spoilers here, for sure, since this is the sort of film in which tension toward the ending is important.

Dassin filmed in realistic lighting in black and white on the streets of Paris using actors and actresses who are not glamorous. The engaging--sometimes intruding--score by Georges Auric nicely enhances the movie and will remind viewers of many a similar score from American film noirs from the forties and early fifties. Jean Servais plays the hardcore, consumptive lead in a fedora much as Humphrey Bogart might have played him. Tony's recently out of prison, past his prime, but still tough and decisive when he has to be, his mind still sharp when focused, the kind of anti-hero whose eyes water even though the tears will never fall.

Dassin plays the Italian safecracker and would-be ladies man who knows the rules but gets careless.

In film noir we are forced by the logic and focus of the film to identify with the bad guys. Often there are levels of bad guys, the "good" bad guys we are identifying with and the "bad" bad guys who are out to do in our good bad guys, and then maybe there's a really bad, bad bad guy or two. (Here we have Remi Grutter, played by Robert Hossein, a slightly sadistic druggie.) Then there are the cops who are irrelevant or nearly so. In more modern film noir the bad guys are not even "good" bad guys, and they get away with it or something close to that. In the old film noir, which evolved from the gangster films of the thirties, the usual motto, following the old Hollywood "code," was "Crime Doesn't Pay," with every criminal having to pay for his or her crime before the end of the movie.

Probably the most impressive feature of Rififi is how nicely the film moves along. The plot unfolds quickly and seamlessly much the way the great film directors always did it, directors like Stanley Kubrick, Louis Malle, and the best of Hitchcock. Some have actually compared this to Kubrick's The Killing (1956) and suggest that Kubrick stole a little. Well, directors always steal if need be, and there are some perhaps telling similarities, such as it being "one last heist" for the protagonist, and having the girl gum up the works. The similarities may go deeper because as this film was nearing its end I suddenly thought, oh, no! the suitcase in the back seat is going to fly out of the convertible, hit the ground, burst open, and all the money is going to fly into the air! Those of you who have seen The Killing may recall what happened to the money near the end of the film! Which reminds me of another film with something bad happening to the money: Oliver Stone's U Turn (1997) starring Sean Penn. There the money in his backpack gets blown to smithereens by a shotgun blast. Ha, ha, ha! Getting the dubbed version of this film would be an act of sacrilege since the dialogue (when there is some: the heist itself is done entirely without dialogue, about 30 minutes worth) is terse and easy to follow requiring only an occasional glance at the subtitles, which, by the way, are quite utilitarian and guiding as opposed to having every word spelled out.

One other thing: all the brutality is done as sex used to be done in film, that is off camera. A guy gets his throat slit. We don't see it. I kind of like this approach. We don't have to see the gore. You could almost let your kids see Rififi--almost.

Catch this one now and be on the lookout for a Hollywood reprise starring Al Pacino and directed by Harold Becker coming out next year in which you can be sure that the violent scenes will be played out in full.

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.