or vice versa. this is a french film noir directed by an american film maker (jules dassin) who had to leave the country because of being blacklisted by hollywood thanks to huac. the premise of the story is rather familiar one last jewel heist for tony le stephanois and his buds and so is the ending with everybody getting. well and no spoilers here and for sure and since this is the sort of film in which tension toward the ending is important. dassin filmed in realistic lighting in black and white on the streets of paris using actors and actresses who are not glamorous. the engaging sometimes intruding score by georges auric nicely enhances the movie and will remind viewers of many a similar score from american film noirs from the forties and early fifties. jean servais plays the hardcore and consumptive lead in a fedora much as humphrey bogart might have played him. tony recently out of prison and past his prime and but still tough and decisive when he has to be and his mind still sharp when focused and the kind of anti hero whose eyes water even though the tears will never fall. dassin plays the italian safecracker and would be ladies man who knows the rules but gets careless. in film noir we are forced by the logic and focus of the film to identify with the bad guys. often there are levels of bad guys and the good bad guys we are identifying with and the bad bad guys who are out to do in our good bad guys and and then maybe there a really bad and bad bad guy or two. (here we have remi grutter and played by robert hossein and a slightly sadistic druggie. ) then there are the cops who are irrelevant or nearly so. in more modern film noir the bad guys are not even good bad guys and and they get away with it or something close to that. in the old film noir and which evolved from the gangster films of the thirties and the usual motto and following the old hollywood code and was crime doesn not pay and with every criminal having to pay for his or her crime before the end of the movie. probably the most impressive feature of rififi is how nicely the film moves along. the plot unfolds quickly and seamlessly much the way the great film directors always did it and directors like stanley kubrick and louis malle and and the best of hitchcock. some have actually compared this to kubrick the killing (1956) and suggest that kubrick stole a little. well and directors always steal if need be and and there are some perhaps telling similarities and such as it being one last heist for the protagonist and and having the girl gum up the works. the similarities may go deeper because as this film was nearing its end i suddenly thought and oh and no. the suitcase in the back seat is going to fly out of the convertible and hit the ground and burst open and and all the money is going to fly into the air. those of you who have seen the killing may recall what happened to the money near the end of the film. which reminds me of another film with something bad happening to the money represent oliver stone u turn (1997) starring sean penn. there the money in his backpack gets blown to smithereens by a shotgun blast. ha and ha and ha. getting the dubbed version of this film would be an act of sacrilege since the dialogue (when there is some represent the heist itself is done entirely without dialogue and about 30 minutes worth) is terse and easy to follow requiring only an occasional glance at the subtitles and which and by the way and are quite utilitarian and guiding as opposed to having every word spelled out. one other thing represent all the brutality is done as sex used to be done in film and that is off camera. a guy gets his throat slit. we do not see it. i kind of like this approach. we do not have to see the gore. you could almost let your kids see rififi almost. catch this one now and be on the lookout for a hollywood reprise starring al pacino and directed by harold becker coming out next year in which you can be sure that the violent scenes will be played out in full. 
or vice versa. this is a french film noir directed by an american film maker (jules dassin) who had to leave the country because of being blacklisted by hollywood thanks to huac. the premise of the story is rather familiar one last jewel heist for tony le stephanois and his buds and so is the ending with everybody getting. well and no spoilers here and for sure and since this is the sort of film in which tension toward the ending is important. dassin filmed in realistic lighting in black and white on the streets of paris using actors and actresses who are not glamorous. the engaging sometimes intruding score by georges auric nicely enhances the movie and will remind viewers of many a similar score from american film noirs from the forties and early fifties. jean servais plays the hardcore and consumptive lead in a fedora much as humphrey bogart might have played him. tony recently out of prison and past his prime and but still tough and decisive when he has to be and his mind still sharp when focused and the kind of anti hero whose eyes water even though the tears will never fall. dassin plays the italian safecracker and would be ladies man who knows the rules but gets careless. in film noir we are forced by the logic and focus of the film to identify with the bad guys. often there are levels of bad guys and the good bad guys we are identifying with and the bad bad guys who are out to do in our good bad guys and and then maybe there a really bad and bad bad guy or two. (here we have remi grutter and played by robert hossein and a slightly sadistic druggie. ) then there are the cops who are irrelevant or nearly so. in more modern film noir the bad guys are not even good bad guys and and they get away with it or something close to that. in the old film noir and which evolved from the gangster films of the thirties and the usual motto and following the old hollywood code and was crime doesn not pay and with every criminal having to pay for his or her crime before the end of the movie. probably the most impressive feature of rififi is how nicely the film moves along. the plot unfolds quickly and seamlessly much the way the great film directors always did it and directors like stanley kubrick and louis malle and and the best of hitchcock. some have actually compared this to kubrick the killing (1956) and suggest that kubrick stole a little. well and directors always steal if need be and and there are some perhaps telling similarities and such as it being one last heist for the protagonist and and having the girl gum up the works. the similarities may go deeper because as this film was nearing its end i suddenly thought and oh and no. the suitcase in the back seat is going to fly out of the convertible and hit the ground and burst open and and all the money is going to fly into the air. those of you who have seen the killing may recall what happened to the money near the end of the film. which reminds me of another film with something bad happening to the money represent oliver stone u turn (1997) starring sean penn. there the money in his backpack gets blown to smithereens by a shotgun blast. ha and ha and ha. getting the dubbed version of this film would be an act of sacrilege since the dialogue (when there is some represent the heist itself is done entirely without dialogue and about 30 minutes worth) is terse and easy to follow requiring only an occasional glance at the subtitles and which and by the way and are quite utilitarian and guiding as opposed to having every word spelled out. one other thing represent all the brutality is done as sex used to be done in film and that is off camera. a guy gets his throat slit. we do not see it. i kind of like this approach. we do not have to see the gore. you could almost let your kids see rififi almost. catch this one now and be on the lookout for a hollywood reprise starring al pacino and directed by harold becker coming out next year in which you can be sure that the violent scenes will be played out in full. ---------------------------------Answer Question Below----------------------------------

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