Every film from Roger Ebert's "Great Movies" essays.
["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 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.
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.
"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.
For a while, I thought Rififi was a fairly interesting heist picture and began to wonder why this is in that esteemed pantheon of classic films...but then the nearly silent second act unfolded before my very eyes and I fully understood its place in cinematic history.
The sheer definition of "crime doesn't pay".
This review reportedly contains spoilers. I can handle the truth.
나쁜 놈들이 보석을 털자 더 나쁜놈들이 그것을 날로 먹으려 들다 모두 죽는다.
이 사이에 자세한 상황묘사가 절묘한 리피피
In an interview in today's NY Times (July 28, 2000), Dassin explains the meaning of the film's title: "The title comes from the North African tribe, the Rifs, who were in constant conflict. So it's all about melees and conflicts and fighting, out of which the novelist Auguste Le Breton made the word 'rififi.'"
One of those movies you think you've seen before, just because everything in it is so familiar - only it's slick like shoeshine, hard as marble and shining like wet floor.
Brilliant! Had been avoiding this on my Netflix list for months, and I now have no idea why! If Robert Mitchum and Gloria Grahame could speak French, they would not have been out of place in this film. There is a half hour heist scene in the middle which is silent - no dialogue, no music. The tension is unbelievable, and yes, I rooted for the 'bad guys'.
A classic case of "crime doesn't pay," Rififi is one of the prototypical heist movies, and that central setpiece - almost completely silent - is truly a masterstroke.
Simply one of the best noirs I've seen. The first and third acts are typical of the genre, but it's the tour de force middle section, with its half an hour, dialogue-free jewel heist, that really puts this above the rest. An utterly stunning sequence. Jean Servais is terrific as the anti-hero, and his morally questionable character suits the dark atmosphere perfectly. Wonderfully directed and expertly plotted, it's a template in creating suspense and keeping it. Even the end, which I felt waned a bit from the climactic middle, is incredibly intense. Could be an inspiration for Godard, as it feels halfway between Hollywood and New Wave.
Best heist movie ever? Maybe. Probably the best heist scene, at least. There's probably a very obvious great heist film I'm not remembering. Soderbergh's Ocean's Eleven is great, but Rififi edges it by being first. You can see much of what makes Oceans's great right there in Rififi. Ocean's is cooler. Rififi has higher stakes and an actual sense of danger. Michael Mann's Thief is also great, but not as great. Who knows. I'm rambling. This movie was awesome.
(Original review outdated, re-evaluation required at later date)
Extraordinary. Suspenseful, sumptuous to look at, sexy, bleak. Greatest heist movie I've ever seen.
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…
Originally a list made prior to Cannes 2014, now updated every mid-April.
This is every Palme d'Or nominee since the…