High-rated movies with very few views. Suggestions are welcome.
["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 heist/gangster film in which the primary conflict of the film only happens in the heist's aftermath. It starts a bit slow, and sexism is rampant (which was a bit off-putting, but this is 1955), but once it gets going it was actually a pretty fun and engaging watch. The heist scene itself is awesome, a score is completely absent so as to increase tension in the scene, and it definitely works.
A special shoutout to all the ladies in this film, whose roles were just to be pushed out of the way.
A heist wrapped in a film noir, Rfifi is excellent both in its exploration of the process of thievery and in its presentation of the dark side of cause and effect. At its center is a band of hardened criminals, but ones who live according to a code, no matter how warped that code may be. They're also professionals. There's something fascinating about watching them methodically problem solve their way through a jewel heist (a sequence which plays out over thirty tense and wordless minutes), carefully casing their target and testing the sensitivity of its alarms. This professionalism can't stop the collision of the thieves' criminal and home lives, however, and I enjoyed the film the most as consequences piled…
It's all great, but that heist though.
Probably the best heist film I've ever seen (alongside The Killing). Everything about this movie is spot on.
"Rififi" places its emphasis on the procedural details of the heist - like A Man Escaped or The Great Escape - culminating in a near-silent 32-minute bravura sequence at the centre of the film, but what truly surprised me was what followed after the heist.
The cinematography and editing are highly impressive as well, and Dassin's direction and shot selection elevate "Rififi" above merely being just a good heist film.
Minus half a star for the usual misogyny.
Rififi's script really works, using the Chekhov's gun principle perfectly. Everything we learn about the characters and every object that comes into focus has an important role in how the events of the film unfold, and it's so satisfying. The heist scene itself is one long sequence of pure tension, helped by the near silence of it. Turns out one of the original heist films is still one of the greatest.
The heist movie to end all heist movies.
"They'll kill your son. He's a witness."
"A witness? He's five!"
"At five, you have eyes, ears, and a tongue."
Quentin Tarantino's favorite films based on the internet pulled from multiple sources.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…