Every film from Roger Ebert's "Great Movies" essays.
["Rififi"] ...means Trouble!
Rififi is a 1955 French crime film adaptation of Auguste Le Breton's novel of the same name. Directed by American filmmaker Jules Dassin, the film stars Jean Servais as the aging gangster Tony le Stéphanois, Carl Möhner as Jo le Suédois, Robert Manuel as Mario Farrati, and Jules Dassin as César le Milanais. The foursome band together to commit an almost impossible theft, the burglary of an exclusive jewelry shop on the Rue de Rivoli. The centerpiece of the film is an intricate half hour heist scene depicting the crime in detail, shot in near silence, without dialogue or music. The fictional burglary has been mimicked by criminals in actual crimes around the world.
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…
"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.
I'm a big fan of heist movies and film noir in general, so I was bound to like Rififi. I'd always heard of it's "masterpiece, best ever film noir heist movie ever" status - and while I didn't love it that much, it's still a great film all around. The main focus point when talking about Rififi is the heist sequence - around 30 minutes of no dialogue or music, just a meticulous, tense, and carefully planned jewel heist. It's likely the best "heist scene" I've seen, and probably one of cinema's most memorable moments. The camerawork and direction really shine in this area. And despite a fairly weak beginning, that heist scene - and everything that comes after - is top caliber filmmaking. The denouement at the under-construction house and Tony's final drive really cap off this cynical and entertaining film. I'm glad I finally got around to this one.
You know those 50 lb. bag-in-a-box containers of Coca-Cola syrup? That’s Rififi: pure, thick, hyper-concentrated noir.
It’s rare when you stumble across such a definitive example of a genre film, one that not only contains all the classic elements you associate with the style, but utilizes them all so incredibly well you’d swear the movie invented the whole category of filmmaking. But Rififi, Jules Dassin’s magnificent 1955 French heist thriller, indulges vice and lawlessness with such gritty, rough abandon you can’t help but feel a little edgier, a little more sinister after watching it, like you might spend the next couple days sneeringly addressing everyone as “tough guy”. It’s a dark, bleakly funny, at times brutal film, a tale of…
A great heist film should inspire heists, as Rififi did, according to Jules Dassin's Criterion video interview.
A masterpiece of suspense during the 30 minutes without dialogue or music makes me wish this was a silent film. Too bad as it makes the already poor dialogue seem even weaker in comparison. And we'd probably get to avoid some of the gross sexism too if everyone were silent.
Contains one of the greatest scenes of all time, but the film surrounding it is pretty sub par.
Rififi is a film brimming with "cool." Released in 1955, Rififi paved the way for nearly every heist movie over the past six decades. In fact, Roger Ebert said that there are echoes of Rififi in both Kubrick's The Killing and Tarantino's Reservoir Dogs. I would also include Michael Mann's Thief.
Rififi is a noir style heist film with an acute attention to detail. So much detail, in fact, that the film's heist scene caused Paris police, believing the film could serve as a thief's handbook, to temporarily ban the film. The heist scene is the film's most iconic scene, and occupies a quarter of the film's run time. The significance of this scene is in its absence of dialogue…
This review reportedly contains spoilers. I can handle the truth.
My heart must've stopped two or three times during that heist scene. Wowie zowie! This was my first time seeing Rififi, but I had a hunch I'd like it and sometimes this fat man's hunch can't miss! If I had to complain about ANYTHING, I'd say that those thirty or so minutes in between the guys pulling off the heist and then the whole ending with Jo's son were pretty dull. I mean, you just can't give me nail biting, heart stopping, unbelievable suspense during the heist and then make me just sit there for another half hour while you build me back toward the grand finale. Otherwise, fantastic film and an instant favorite.
Noir-y and exported blacklist feelings. The heist scene obviously makes the whole movie worth watching. But the final chase scene (albeit with confusing use of landmarks in Paris, I'm not as familiar with the orientation of where they are, but I'm also not sure how familiar Dessain was either) is great. And makes a good 1955 case for seat belts and child seats.
It was my first Dassin film and it is one of the best heist film I have ever seen. I look forward to renting more of Dassin's films.
As planned and meticulous a the heist itself, Rififi is an efficient film with little room for thematic divergence. Despite cultivating the stencil for the genre, all characters are stock cuttings in which all emotion is strained through the stoic eyes of Jean Servais, the recently released old time crook who scowls through the entirety of the film and emotes through his brows rather than his mouth. He may buy toys for his protégé’s son but that is merely a distinction of his ruthless efficiency rather than a guise to hide it. It speaks volumes of his cut-throat personality but it also lends the film a firm, diamond layer that is hard to chip through.
Academically, Rififi is an excellent…
The tree from which all heist films grow.
- 12 Angry Men
- 2001: A Space Odyssey
- 25th Hour
- 3 Women
- The Godfather
- Seven Samurai
- The Godfather: Part II
- 12 Angry Men
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game