Quando comecei a assistir mais filmes eu precisava de um caminho pra seguir e caí de cabeça em um monte…
["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.
A câmera tem uma movimentação precisa e dominadora, cercando sempre todos os ambientes do filme. E esses ambientes são o maior recurso que ele estabelece, sendo eles o espaço urbano estreito de Paris (estudado pelos personagens para o assalto), seja a sala onde ficam encurralados para o roubo das jóias ou até, em flashses vertiginosos, as rodovias na tensa sequência final. Dasin constrói suspense nessas meticulosidades técnicas, de um jeito malandro mesmo. Não teria outra palavra melhor pra descrever o filme.
Shit, this is a great film. This is bar far, by far, the best crime/drama/noir film ever. In essence, what we have with Rififi is a heist film like The Italian Job meeting a noir like Sweet Smell Of Success meeting an emotional drama like Bicycle Thieves. What makes this film so great is its Bicycle Thieves elements. In other words, it's the characters and their predicament working with the plot to produce a monolithic emotional commentary on crime and poverty. This is such a unique film as I've never had such sympathy for protagonists whilst recognising that they're bad guys - all before accepting their fate. Without spoilers, the character arcs in this film are incredibly expressive. A defining…
The ultimate heist film.
This film is as carefully crafted as the robbery in it that takes place during of the greatest sequences in cinema.
This review may contain spoilers. I can handle the truth.
I liked the approach of making the team a small one. The heist was great, it had some good tension.
I was surprised at how devastating the rest of the story is for the characters.
A quartet of thieves breaks into a jewelry store, and for a tense half- hour we watch as they work, silently. It is like a highly skilled documentary on how to disconnect a burglar alarm and open a safe, and it is thoroughly engrossing, because we see the criminals as craftsmen, and we celebrate their teamwork, their finesse, their triumph. Ironically, we find ourselves sympathizing with their honest exhaustion after their dishonest labor. From then on, this movie, made in France, by the American director Jules Dassin, follows the tradition of SCARFACE, PUBLIC ENEMY, and THE ASPHALT JUNGLE (and of MACBETH before them), bringing the tragic, trapped figures (now symbols of our own antisocial impulses) to a cadaverous finish. Along…
The greatest heist film ever made, yet so much more than just a heist film.
An intelligent screenplay and fantastic performances makes "Rififi" one of cinema's greatest crime films.
The most American French movie ever made.