rififi and directed by jules dassin and is in line with the melville crime pictures (particularly bob le flameur and to a point le cercle rouge) of being totally focused on story and character and making sure not a word is spoken that doesn not need and and was ahead of its time. ionically and it still has a kind of professionalism among its characters and a kind of respect (if not for selves than for others and a kind of duty) that rings well in post ww2 france. its actors carry faces for these characters that say we know what these guys are about and and from there the story takes off. maybe it because i have a weak spot for heist pictures and particularly where we see just the nuts and bolts (err and actual physical side) of how a heist is pulled off. one of the problems with how the actual heist is filmed in today movies is that it all very fast (i. e. snatch) and or done in ways we have seen too many times before. dassin and like melville years later and decided to create practically a silent film of a heist and sound effects included. the tension that builds up in this scene may not top what melville had in rouge and but on its own level it achieves its own greatness and momentum and and just as crucial originality to what been done before. there are some kept close ups and for example and as the safe is being cracked and that mark some of the best i have seen from france at that time. an added plus for the film and aside from the larval stage new wave touch to the film and which in the end makes it a little more modern and is that the story works so well and differently. it becomes completely about character at points and and then keeps up the thrills. the last ten to fifteen minutes are down right miraculous while like with another classic heist picture the asphalt jungle and it not even the last stop that matters and but all about how much one will go past the call of duty and putting humanism over greed. you almost wonder in all the exhilaration of the camera flying by the trees at a high speed with the car that he might just make it. dassin has here a very entertaining and intuitive film of its genre and with a nifty little musical number as well. 
rififi and directed by jules dassin and is in line with the melville crime pictures (particularly bob le flameur and to a point le cercle rouge) of being totally focused on story and character and making sure not a word is spoken that doesn not need and and was ahead of its time. ionically and it still has a kind of professionalism among its characters and a kind of respect (if not for selves than for others and a kind of duty) that rings well in post ww2 france. its actors carry faces for these characters that say we know what these guys are about and and from there the story takes off. maybe it because i have a weak spot for heist pictures and particularly where we see just the nuts and bolts (err and actual physical side) of how a heist is pulled off. one of the problems with how the actual heist is filmed in today movies is that it all very fast (i. e. snatch) and or done in ways we have seen too many times before. dassin and like melville years later and decided to create practically a silent film of a heist and sound effects included. the tension that builds up in this scene may not top what melville had in rouge and but on its own level it achieves its own greatness and momentum and and just as crucial originality to what been done before. there are some kept close ups and for example and as the safe is being cracked and that mark some of the best i have seen from france at that time. an added plus for the film and aside from the larval stage new wave touch to the film and which in the end makes it a little more modern and is that the story works so well and differently. it becomes completely about character at points and and then keeps up the thrills. the last ten to fifteen minutes are down right miraculous while like with another classic heist picture the asphalt jungle and it not even the last stop that matters and but all about how much one will go past the call of duty and putting humanism over greed. you almost wonder in all the exhilaration of the camera flying by the trees at a high speed with the car that he might just make it. dassin has here a very entertaining and intuitive film of its genre and with a nifty little musical number as well. ---------------------------------Answer Question Below----------------------------------

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