Every film from Roger Ebert's "Great Movies" essays.
Out of prison after a five-year stretch, jewel thief Tony (Jean Servais) turns down a quick job his friend Jo (Carl Mohner) offers him, until he discovers that his old girlfriend Mado (Marie Sabouret) has become the lover of local gangster Pierre Grutter (Marcel Lupovici) during Tony's absence. Expanding a minor smash-and-grab into a full-scale jewel heist, Tony and his crew appear to get away clean, but their actions after the job is completed threaten the lives of everyone involved.
Noir-November Challenge! Movie #30
A spectacular 32 minute (dialogue and music free) heist scene that not only influenced filmmakers it inspired thieves worldwide whom successfully implemented similar tactics shown in the film!
The meticulous details involving the disarming of the alarm during the preparatory rehearsal for the heist was equally amazing! Little did the director know his keen eye and attention to details would end up being a blueprint for Rififi inclined individuals to commit robberies!
If you are serious about heist films or film noir this is an absolute MUST SEE! When it comes to heist films and nerve wracking suspense Jules Dassin has mad skills! I've seen quite a few gangster flicks and have never seen one that…
I give kudos to any film that can pull off a substantial amount of time without dialogue: WALL-E, There Will Be Blood, 3-Iron, but Rififi takes the cake. A full half-hour with no dialogue and no music, and it is one of the most suspenseful scenes I've ever seen.
When people say Rififi is the best bank heist film, they mean it. Everything about this film is perfect. Jean Servais, a famous French actor who had not worked in years is perfect as Tony le Stéphanois, a strong quiet man who just got out of jail and is lured into another heist. He's highly respected among his peers because of his loyalty, his wits, his attention to detail, but more…
For a job with you, he'll come.
One of the most fascinating things about Rififi is the fact that it was Jules Dassin's first film in 5 years since being blacklisted in Hollywood as US Studios made it hard for him to even get directing work in Europe. Here he finally gets in the director's chair again in France and hammers out a damn masterpiece while Hollywood still refused to let him work.
The heist film. The set up is familiar because it's been redone umpteenth times since and is still being done today, and will be done again tomorrow. Here though it is perfection. We're introduced to the many different elements of the story, a heist is…
Here's a fact: I don't like Heist movies. Yeah, they could be fun to watch sometimes. But all that planning to steal the you-know-what, executing it with 'style' with a few punch-lines thrown in has been recycled by God knows how many movies. For starters, I wanna clarify I find Reservoir Dogs ridiculously overrated. If you count Inception as a Heist movie, it was my favorite movie of that genre so far. Ocean's Eleven is probably a close second due it is laugh-out-loud moments and sexy editing but by the end of the day, it's still forgettable in my universe.
When I came across Rififi (Or the sexier French title Du Rififi Chez les Hommes), I learned how 'influential' this…
A classy crime drama, full of suspense, shadows and technical prowess. The intricate half an hour jewellery store heist alone deserves applause, but everything around it is also beautifully scripted and performed.
A must see.
"There's not a safe that can resist Cesar and not a woman that Cesar can resist"
The granddaddy of Heist Movies.The masterstroke is the main heist itself which is 30 minutes of pure unadulterated realism..Meticulous,tense and riveting.it's worth watching just for that alone.
A 1955 French thriller by the blacklisted Hollywood director Jules Dassin. The opening half-hour—the burglary of a jewelry store, filmed in meticulous detail—is as good as its inspiration in The Asphalt Jungle, but the film turns moralistic and sour in the last half, when the thieves fall out. With Jean Servais, Robert Hossein, and Dassin himself as one of the crooks. In French with subtitles.
There are moments in Rififi that moments feel unreal because of how good they are. That's what defines this film. Moments of transcendence that surpass the actual experience o the film as a whole. Rififi clearly works in the genre that it so heavily influenced, operating with much of the same structure and three act format that came to define movies like these for decades to come (Just so this format could be played with and subverted in recent years) and it uses this structure really well in telling this heist movie.
And the heist sequence (which takes up a very long chunk of the movie) is transcendent filmmaking. Without using music or dialogue to pump up the tension, Dassin…
I've been feeling heist movies and... well this one has been on my Netflix watchlist for such a very long time, and tonight just felt right. I had the room to myself, all the lights off, the sun was going down, and i had myself pizza and a nice four pack of German beer. I know French beer would've been more suitable, but as far as my local Bargain Booze is concerned, there is no such thing.
Anyway, one of the things that attracted me to this film, despite the fact it's constantly being recommended to me, and is supposed to be a classic, is that this heist movie involved a human element which gets in the way of what…
Easy to follow and very captivating.
It was also a lot grittier and darker than I imagined it would be.
I've only just found out that the heist scene was 32 minutes and had no dialogue or music! That's how great it was!
The famed centerpiece of Jules Dassin’ Rififi is a silent heist sequence that lasts about thirty minutes. It’s a masterpiece of nonverbal communication, both between the characters on screen and what Dassin is able to relate to the audience. The thoughts and anxieties of the criminals are transferred through editing, spatial relationships, and the performances of the actors, and the audience is informed of the processes entailed only as the events are occurring. For a genre that often relishes in characters who posture and talk a big game, it’s a nice change of pace to demonstrate the criminals as simple tradesmen doing their jobs. There isn’t a lot else in the picture that lives up to the masterful heist, which…
This review reportedly contains spoilers. I can handle the truth.
I at first thought that the pacing of this film was really poor, and it pandered to non-essential sub-plots. Then it hit the heist halfway through the film. See, it's not about the heist, but the aftermath.
They essentially pulled off the heist, but things take a turn for the worst in the aftermath. And THAT is the real climax. And THAT is why we needed all the sub-plots, and once I realised that, I really enjoyed the last half. It was much more film-noir than I was expecting.
I'd highly recommend seeing this film, as it's incredibly well-made, and as all heist films are, it's extremely fun. Just don't go into the film expecting the actual heist attempt to be the climax, and pay attention to all the pandering pre-heist.
on voit d'où Melville s'est inspiré pour sa longue scène silencieuse du hold up dans le cercle rouge. la scène est non seulement exceptionnelle grâce à son suspense, mais aussi (et surtout) grâce à tous les petits trucs qu'utilisent le trio de voleur (le parapluie, le spray dans l'alarme).
l'italien rigolo qui fait la connerie qui les fera se faire prendre c'est un peu fort de café sur toute la ligne mais le finale avec les allers-retours entre Paris et Sceaux (les plans autour de la gare de Port-Royal !!) et le stéphanois qui meure tout à la fin de son périple c'est quand même très bon et très beau.
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…