1955 ‘Du rififi chez les hommes’ Directed by Jules Dassin
Out of prison after a five-year stretch, jewel thief Tony turns down a quick job his friend Jo offers him, until he discovers that his old girlfriend Mado has become the lover of local gangster Pierre Grutter 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.
Jean Servais Carl Möhner Robert Manuel Janine Darcey Pierre Grasset Robert Hossein Marcel Lupovici Dominique Maurin Magali Noël Marie Sabouret Claude Sylvain Jules Dassin Armandel Alain Bouvette Alice Garan André Dalibert Jacques David Émile Genevois Marcelle Hainia Marcel Lesieur Daniel Mendaille Huguette Montréal Lita Recio Fernand Sardou Jacques Besnard Teddy Bilis Marcel Rouzé Roger Rudel
Terwijl Parijs slaapt, Кавга, Guld på gaden, Rififi a férfiak közt, Rififi entre los hombres, Nattens ulver, 리피피, 男人的争斗, Ριφιφί, ריפיפי, Rvačka mezi muži, Мужские разборки, Рифифи, Чоловічі розбори, Phi Vụ Hoàn Hảo, Guld På Gaden
Greece
Thessaloniki International Film Festival
France
Belgium
Denmark
Japan
Germany12
Brazil16
PortugalM/16
USA
Italy
Finland
Greece
Belgium
Brazil
Denmark
Finland
France
Germany
Greece
Italy
Japan
Portugal
USA
this movie was really good but i have to talk about the old guy during the discussion in the theater afterwords who didn’t understand how foreign language films and subtitles worked and it had to be EXPLAINED to him. he was like “did they remake it for american audiences? but how are we understanding what they’re saying? it’s not in english?”
There is a scene in this film towards the end where the son of a criminal accidentally loses his grip on his helium balloon. As it gets away from the little boy and floats up into the sky, director Jules Dassin switches to the perspective of a father and his kid sitting at the back of the bus looking out the window at what just happened. The father takes a moment to lecture his own son on the consequences of carelessness.
This single moment, a seemingly unnecessary insert into the rest of the plot, illustrates both Dassin's artistic predilection for visual lyricism and his capacity for narrative poetry. The shot provides a perspective outside of the main story that comments…
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 felt this authentic!
_______________________________________________________________________________________…
A pretty straightforward heist film that is more about the inevitable tragedy of the hyper-masculine gangster lifestyle than anything else. Great music! Beautiful shots! An extremely unlikable protagonist and a tense final few minutes that made me say “good lord” out loud in anticipation! My first child shall be named... Rififi! (Hope it’s a girl!)
I feel like I can empathize with the real-life criminals who tried to execute actual heists after they watched Rififi, because I once tried to execute an actual front flip off my parents’ roof onto a stack of mattresses after watching Jackass 3D. It didn’t go so well for me, either.
The quintessential heist film (Ocean’s Eleven don’t want that smoke) and one of the best noirs of all time. Feels akin to The Asphalt Jungle, but with more emphasis placed on the criminals combatting their own inclinations rather than just being cornered by the police. Of course, the 30ish minute silent heist sequence itself is also a staple of cinema, and one for which American director Jules Dassin (who…
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…
“I liked you…”
Blacklisted expat Director Jules Dassin found himself in France and out of work, leading to this hugely influential and effective caper. When the actor cast as the safecracker dropped out, the budget-conscious Dassin stepped in, thus an American found himself directing a French cast while playing an Italian. The fate of his character was Dassin’s statement on those back home who were complicit in the injustice of the blacklist that forced him to leave his country - an exile that ironically produced his defining work.
The film’s middle act features what is arguably the heist by which all other heists should be measured, ruthless in its efficiency, simplicity, inventiveness and craft. And one that mocks the many attempts that have been made to top it.
Also worth watching is Dassin’s other, lighter caper, Topkapi. Taken together, their influence on films like Michael Mann’s Thief and DePalma’s Mission: Impossible is unmistakable.
"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…
64/100
Incredibly grim, and yet...superficially grim, somehow? Dassin's efforts to sidestep the source novel's racism, while admirable, appear to have neutered its tragic element; there's virtually no hint of the inexorability that packs such a wallop in Kubrick's The Killing (released just a year later). Consequently, Rififi peaks during its celebrated wordless heist sequence, which is gratifyingly procedural at a time when that sort of prolonged attention to minute detail was extremely rare. Also, Servais and Dassin outclass the other two actors by an order of magnitude. Absorbing, even "fun" in its bleak way, but not a film that lingers much; Night and the City and Thieves' Highway make a stronger case for Dassin as one of the key noir…
Everyone focuses on the heist sequence and rightfully so because it is simply amazing. The whole film is gripping from back to front but the complete lack of dialogue and music during the heist is exceptional because the audience is so honed in on the sound as you are on the edge of your seat because the set up of the alarm is so masterful.
Fantastic film that was the genre blueprint for everything that came after. Check it out if you haven’t.
I loved this so much. Beautiful and suspenseful and without giving too much away, a perfect justification for why you need 11 guys to pull off a heist! 4 is not enough!!
