Touchez pas au grisbi

The middle age bon-vivant Max (Jean Gabin) is a former gangster and close friend of his partner Riton (René Dary). They have stolen eight gold bars of 12 kg each that worth 50-million francs and Max has kept them hidden for their retirement. Riton's mistress Josy (Jeanne Moreau) is tired of him and has found a new lover to support her, Angelo (Lino Ventura), who is a dangerous gangster. Riton has made a comment to Josy about the gold and soon Angelo discovers that Max and Riton have the stolen gold. He abducts Riton to force Max to give the gold to him. Will Max exchange his gold for Riton?

"Touchez pas au grisbi" is a classy French-Italian production with a great story of honor and friendship. The pace is capable to detail a scene like, for example, Max and Riton brushing their teeth without being boring. Max is an interesting character and it is delightful to see his reactions and tranquility towards any situation, his code of honor and his face in the end after receiving the phone call with the bad news. It is also impressive how beautiful and sexy the actresses are. My vote is eight.

Title (Brazil): "Grisbi, Ouro Maldito" ("Grisbi, Cursed Gold")

Max and Riton are ageing gangsters who are trying to 'retire' after their latest big heist. Early on in a night club scene, Max intimates he would rather go home and sleep as he is tiring of night-clubbing and the late hours. Riton, his best and oldest friend, is trying to stay youthful, although unknown to him, he is getting cuckolded by a younger man right there at the club.

The bond between the friends is insoluble, even though they grouse inwardly about each other. If you ever had a lifetime friend, you will instantly connect with these two - you will just know the link. Anyway, without giving too much away, another crook wants to muscle in on their windfall with an undeserved split via the extortion route. That's all I can tell you, but get the DVD.

Max (played by the great Jean Gabin) has a secret pad, and to avoid trouble, invites Riton to stay overnight. These two are such old friends that, in a scene as humorous as it is tinged with melancholy, Max produces a pair of pajamas and a toothbrush for his old pal (remember sleepovers with a friend?).

The film takes a while to get underway, and all the action is toward the end of the picture, but you can overlook the pacing as it is an unforgettable homage to friendship and advancing age. Adding to the generational disconnect is the use of obsolete slang, as when Max calls someone 'Daddy-O' (Actually, it must have fit better in its initial release in 1954, but seems completely out-of-date now).

"Touchez Pas Au Grisbi" plays like a film noir/buddy picture and is thoroughly enjoyable and entertaining, Film buffs may recognize Jean Moreau as Riton's unfaithful girlfriend.

Jacques Becker 1954 "Touchez pas au grisbi" is a delight to watch. M. Becker was an artist that knew what to give his fans, as he clearly shows in this masterful account about the gangsters operating in Paris during the fifties. Becker and his cinematographer, Pierre Montazel, brought the cameras to the streets as we are taken to savor that underworld they operated from. The jazzy score by Jean Wiener works well in the film. The film shows us the bygone Paris of that period, beautifully photographed by M. Montazel in all its splendor.

At the center of it all is Max, the older gangster who suddenly begins feeling the toll of his years living dangerously and is contemplating retirement after he, and his partner, Riton, get rid of the gold bars they have stolen from a shipment at Orly airport. Max and Riton are seen at the beginning of the film dining at Chez Bouche with two younger women, Josy and Lola, who are chorus girls in the night club that seems to be the venue where these characters like to frequent.

Things get complicated when Josie tells the newly arrived Angelo about what Max and Riton have and the trouble starts as he wants to get to the stolen goods for his own benefit. Thus begins a conflict between two different factions of the underground that will end badly. Max's plans for retirement with the proceeds of the sale of the stolen gold will have to wait.

The best thing about the film is the uncanny way M. Becker and his collaborators reproduce that era for us. The world of the night clubs, restaurants, watering places, apartments, and other places where these characters move, are faithfully recreated for our pleasure in the movie. This film noir influenced a lot of other movies that came after, as Becker's influence inspired future movie makers.

Jean Gabin, probably the best French actor of all times makes us like his Max, even though we realize he is a criminal. M. Gabin is the whole reason for taking a look at this film that he dominates at all times. Rene Dary, is seen as Max's partner in crime, Riton. Jeanne Moreau in one of her earlier films shows why she went to be one of the stars of the French cinema. Her Josie is excellent. Also in the cast, the fabulous Lino Ventura who plays Angelo. Denise Clair plays Mme. Bouche and Dora Doll is Lola.

"Touchez pas au grisbi" will not disappoint Becker's fans.

It would be nonsense to give an order of merit to the three cinematic masterpieces by director Jacques Becker. However, personally I love "Touchez pas au grisbi" even more than "Casque d'or" or "Le Trou". In "Touchez pas au grisbi" we find all we can ask from a Becker's film: splendid black-and-white cinematography, evocative, romantic atmosphere, brilliant script, stunning excellence of the actors' job. But here we get more: a tough, perfectly written gangster-story, swift pace and action blended with an outstanding psychological design.

The movie is mainly a story of friendship and honor. We have two old pals, two aged gangsters close to retire: Max (Jean Gabin), smart and clever, well aware that their best years are over, and Riton (Rene Dary), naive and rash, unable to accept the end of their youth, even dumb if you want, but extremely brave and devoted to his friend. Max is constantly grumbling against Riton and the troubles he causes. He scorns Riton's courage... brains and good sense, that's the important thing... But when it's the time for action, we see how deep and touching their friendship is, how ready they are to sacrifice themselves for each other. In other words, there are circumstances when only courage and honor count...

According to his usual style, Becker describes the world of criminals as a weird parallel of the world of "decent people". To be a gangster appears a job like another: a day at the office. See Max's poise and professional way, when he negotiates the value of the "grisbi" (the swag) with the receiver. And when Max is going to face a last-blood gang-war, he quietly leaves a large sum of money to a trusted bar-maid, in case of need "... to tip somebody (i.e. police or judges)... to fix possible problems... you know better..."

Inside a story narrated in the most understated way, Becker inserts unexpected explosions of violence. Take the owner of the Night Club, another old pal of Max's and Riton's. Poised, always silent, short, fat, with thick glasses, he seems the less harmful person. Yet, suddenly, and without a single word of comment, he starts to brutally beat a thug from a rival gang. And, with the machine-gun, he shows himself even tougher than Max and Riton.

Of course, the movie also offers a Gabin's trade-mark scene, when he slaps everybody, men and women as well. Great stuff: toughness mixed with sense of humour. Gabin's performance is at the highest level reached in a glorious career.

What else to add? "Touchez pas au grisbi" is a fantastic masterpiece. Moreover, I guess that this film is good for all tastes , which probably can't be said for other Becker's cinematic gems.

The title of this French film noir is slang for "loot". Jean Gabin stars as racketeer Max. Seeking out the finer things in life, Max intends to pull one last job and retire. After stealing a fortune in gold, our hero is faced with a crisis of conscience when his best friend (Rene Dary) is kidnapped and held for a huge ransom, the proceeds of this last job. Max manages to turn the tables on the abductors, but his dreams of a life of ease explode in his face. Up-and-coming leading lady Jeanne Moreau plays a pivotal role as the femme fatale who leads Dary into the hands of his kidnappers.

An intriguing film that inverts many of the film noir cliches. The heist which drives the film's plot has already occurred when the film starts, which has the effect of shifting the film's focus from the crime itself to the consequences of leading a life of crime. The characters are portrayed less like criminals than businessmen, calmly going about the business of earning a living. As a result, the few scenes of violence that occur are more shocking than they would be in a more routine crime film. An intriguing film that clearly influenced subsequent French crime films, especially Jules Dassin's "Rififi" and Jean-Pierre Melville's "Bob le Flambeur".