Complete list of the films Guillermo del Toro has recommended on twitter. Click the 'Read notes' button to see his…
["Rififi"] ...means Trouble!
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.
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…
"Five years in the pen marks a man."
Bullets don't kill people, long prison sentences do.
It's entirely impossible to talk about Rififi without reckoning with its central heist scene. Tony le Stéphanois (Jean Servais) is a career criminal recently released from his commuted jail term (for good behavior), and his friends on the outside convince him to participate in (and essentially engineer) a bank robbery. What follows is without doubt the single greatest heist scene in any movie I've ever seen. It clocks in at about half an hour long, and it plays out completely without dialogue. Following the release of Mad Max: Fury Road, "visual storytelling" has become a popular buzzword, but there's nothing that better describes the…
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…
A tragedy! And a famous heist scene. Very methodical, almost felt like a tutorial. Check your watch often and remember, not too loud now. Always keep an eye on the time, keep an eye on the schedule. No words needed, only the periodic clank clank clank. It's like Thief, it reminds me of Un Flic. I guess Rififi is the mother of them all, Dassin's out there setting standards for crime films despite being blacklisted by Hollywood. Ending was superb and climactic. Classy, thrilling french noir.
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.
When a film centres around a 30 minute sequence of some guys robbing a jewellery shop, you know the rest of the film has to be pretty good for the piece to be something masterful. Now Rififi does get that half-hour heist just right, even in my opinion turning the film temporarily into a great one, I just felt though that outside of the heist, the movie isn't always fantastic stuff.
The film stars Jean Servais in the lead role as Tony, a robber just released from prison who comes around to decide another job is a thing he can do. Through careful planning, Tony and his team of three others plan the robbery, then they put plans into action…
One of the greatest movies ever made. And the greatest Gangster movie.
Mit teilweise brillanten Bildern und einem mittlerweile fast unerträglich anachronistischen Protagonisten setzte Rififi die Formel für alle kommenden Heist-Filme.
Diese Formel kennen wir alle: Casting der Crew, Planung und Durchführung des Heists. Bemerkenswert ist aber, dass das wenngleich nicht unwichtig, doch nicht das zentrale Element des Plotts von Rififi ist. Der Film ist viel mehr daran interessiert, wie es nach dem Heist weitergeht.
80 percent of this film could have been made by anyone. The other 20 percent is procedural glory.
A classic which somehow feels even more classic each time I see it. THE heist film.
Now I know why a friend kept insisting I watch this classic, French noir movie. It is fascinating, especially the centerpiece jewelry store heist. Most interesting of all is that the heist isn't the point of the movie which goes on for a significant amount of time afterward. It is about the people, not the burglary, unlike many heist movies.
Not a single word for 30 minutes. It's some of the most riveting 30 minutes of film ever put to celluloid. There's a reason so many call it one of if not the greatest 'heist' picture ever made.
Doesn't start off too well (an almost eye-rollingly paint-by-numbers noir, complete with not-so-casual misogyny), but once it gets into the actual heist, it's great. It's an almost soundless half hour, and it's killer. After the heist, there's another lull, but it ultimately crescendos for the ending, which is bleak and brutal and gorgeous. Uneven and spotty, but worth it for the robbery and the ending.
Dassin's Rififi remains the best heist film that I have ever seen (so far).
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