Every film from Roger Ebert's "Great Movies" essays.
Touchez Pas au Grisbi
An aging, world-weary gangster is double-crossed and forced out of retirement when his best friend is kidnapped and their stash of eight stolen gold bars demanded as ransom.
Jean Gabin might be the shit as Max, and Touchez pas au grisbi certainly have a reputation among those who wandered the finer circles of cinephilia (which also resulted in its inclusion in the latest Sight & Sound-list from 2012), but to me it's more than anything a reminder I need to get around revisiting Jean-Pierre Melville's Bob le flambeur--which was released two years later (and didn't make that '12 S&S-list).
I've had a handful of Jacques Becker movies for a while, but haven't gotten around to any of them until now. Le trou is certainly high on my to-do list, but it didn't exactly jump higher with this experience. Becker haven't Melville's flair, and directs this movie with a very…
So cool...So French...So Gabin...
Touchez Pas Au Grisbi, Don't Touch the Loot, or Grisbi for short(Honour Among Theives was the UK title, not sure why it's listed here). Directed by Jacques Becker, who directed Le Trou and also Casque d'or, which I'm queuing up ASAP. Becker was an assistant to director Jean Renoir during the 30s, and it seems he picked up some great tips, like casting Jean Gabin. But that's not all, because Becker can direct, and Grisbi is another French gangster flick masterpiece.
The film is built on interesting characters and a great story. Everything flows so well, the story, the direction, the plot. Gabin can, and he does, carry a film with his charm, but he has…
Heist FIlms: August 2014
There's a scene in Touchez Pas au Grisbi where ageing gangsters Max and Riton (Jean Gabin and René Dary) eat some cheese and crackers, drink champagne, and then put on their pajamas, brush their teeth and go to bed. There's a palpable sense of impending violence, but Max is determined to stay classy until the bitter end.
There are a number of heist films where the big job is pulled off early on, and more time is spent telling the story of the aftermath. In Touchez Pas au Grisbi the robbery has already occurred before the titles roll. It was to be the big retirement score for Max, who's fully aware he's been too old for…
-"You leaving me here? How am I gonna get back?"
-"Try hunting snails, daddy-o."
Touchez Pas au Grisbi stars Jean Gabin as Max, an aging French gangster who wants nothing more than to spend the rest of his days relaxing and spending his hard earned loot. When Max's best friend Riton gets into a jam, Max must put his life of ease on hold for a while and get back into the gangster game. Also staring French royalty like Jeanne Moreau and Lino Ventura, Touchez Pas au Grisbi is yet another strong film directed by the great French director Jacques Becker.
After seeing Jacques Becker's French masterpiece Le Trou less than a month ago, and being blown away by the…
Gabin is a machine.
Le Trou being one of the best jailbreak films I have ever seen, my expectation was quite high going into this. And the maker does not disappoint, again carving out a crime thriller with an excellent sense of proportion. The characters are just correct, the casting fits hand-in-glove, and the story is smart, tense and redeeming. The relationships that ebb and flow between characters form the essence of this film – creating quite a unique gangster film, I would say. The B&W job is sparkling, the storytelling is great but I cannot stress enough how much the characters own this film. Jean Gabin is the smoothest as Max – ably supported by all others – and the conclusion is well worth waiting for. Surely a great film!
Jacques Beckers Film aus dem Jahr 1954 ist ein Meilenstein und ein Klassiker des französischen Kinos: Das Debüt von Lino Ventura, das fulminante Comeback von Jean Gabin nach 16 mageren Jahren, eine sehr junge Jeanne Moreau - und die Geburtsstunde des modernen französischen Gangsterfilm. Becker hat mit diesem Film die Blaupause für die auf noch folgenden großen Gangsterfilme von Dassin, Melville und Sautet geliefert.
Becker ist ein Regisseur der ruhigen und genauen Beobachtung. Er verwendet viel Zeit, uns die Gangster bei ihren alltäglichen Verrichtungen zu zeigen: Jean Gabin bereitet ein Abendessen vor, Jean Gabin nimmt Kissen, Bettzeug und einen Schlafanzug aus dem Schrank, Jean Gabin putzt sich die Zähne. Die Folter-, Kampf- und Schießszenen laufen vollkommen ruhig und sachlich ab,…
Gabin is a machine.
Oh, French crime films, why does it take so long for me to return to you? Terrifically entertaining, and I was extremely impressed by Becker's precise storytelling and smooth framing. And, of course, I want to be Jean Gabin when I grow up. What a magnetic, seemingly effortless performance! However, there's a fair bit of expected period/genre chauvinism, and none of the women end up more than an object or a plot point, so there was some shaking of my head. But I'm glad I reminded myself that I need to go to this well more often.
MIDNIGHT SUN FILM FESTIVAL 2015 - Film #11
Bernard Eisenschitz' Masterclass
A film I really wish I could have loved more. Surprisingly realistic and without a doubt forerunner in many cases. Everybody from Melville to Kitano seems to have had some kind of inspiration from Becker's evergreen classic. When I lost interest in characters, I felt as if the whole film fell apart in my case.
The best part of this slick French noir is Jean Gabin's detached performance - there's emotion in there, even sentimentality, but it's buried so, so deep. The film is a bit short on plot for a noir - it's very straightforward.
Älkää koskeko... -elokuvassa herrasmiesrikollinen Max (Jean Gabin) joutuu ahtaalle kun vihi hänen ryöstösaaliistaan lähtee liikkeelle. Max huomaa pian olevansa tilanteessa, jossa luotettava ystävä on kultaakin arvokkaampi.
Ystävyyden ja veljeyden kuvaaminen rikollisten keskuudessa ei ole niin helppoa kuin miltä se kuulostaa. Monet tekijät ovat sitä yrittäneet, mutta Jean Renoirin apulaisena 30-luvulla aloittanut Jacques Becker on niitä harvoja, jotka ovat suoriutuneet tehtävästä kiitettävin arvosanoin.
Beckerin saama aikalaiskritiikki kohdistui yleensä hänen elokuviensa ”juonettomuuteen”, mutta varsinkin nykykatsojalle Beckerin tarinankuljetus on täysin luontevaa. Juoni ei ole päälle liimattua ja kaiken kaikkiaan Becker noudattaa neorealismin ohjenuoraa, jossa elämänmakuisuus tavoitetaan tarinan ja henkilöhahmojen väliin jäävässä hiuksenhienossa raossa.
Elokuva toimi ponnahduslautana kahdelle ranskalaisen rikoselokuvan definitiiviselle ikonille. Jean Gabin teki elokuvalla paluun sotavuosien jälkeen ja entiselle ammattipainijalle, Lino Venturalle…
Jean Gabin was an actor of cinema if there ever was one.
I discovered Jacque Becker's 1954 movie thanks to Roger Ebert. It is the subject of an essay in his "little" (his own word) e-book "27 Movies From The Dark Side," part of his mighty (my word) "Ebert's Essentials" series.
"Touchez Pas au Grisbi" combines two of Ebert's favorite things.
His favorite genre was the film noir, and the world cinema he admired most was, perhaps, the French.
Alighting on the heart of the matter, Ebert quotes Francois Truffaut in his essay: "The real subjects of Grisbi are aging and friendship."
This picture is a pleasure. Thank you for one more discovery, Mr. Ebert, even if it is just the latest entry on a very long list, with, I'm sure, many…
Jean Gabin's Max bleeds class in this stylish crime film.
Even in moments of extreme danger, Max's demeanor remains cool. The polished set design (even back alleys and rural roads seem clean) and lavish compositions match his assured sense of style. Visual flourishes that break up the classy world of these gangsters, such as handheld and bird's eye view shots, are mostly devoted to the chaos and intimidation apparent in those who would try to harm Max. As his enemies chase him, he calmly fires shots in the air and watches them scatter. Even his internal monologues in the face of betrayal, delivered in patient voiceover, sound unshaken.
There is an undeniable attraction to this confidence, but also a lack of humanity in Max that makes his tale less moving than many others of the genre or of the great actor's career. Still, few such minor complaints can't truly overshadow the film's thrilling penultimate sequence.
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 196/776 (25%)