a recent re issue of the french crime film (original title du rififi chez les hommes) and with its famous 20 minute silent jewel heist sequence and now comes in the us in a gorgeous new print from the criterion collection with improved subtitles and some extras. jules dassin was an american (born julius dassin in middletown connecticut) who was forced to make films in europe because he was blacklisted. rififi was well publicized in the us and did well in art houses. later dassin became a lot more famous in the us for never on sunday (1960) starring his wife and the greek actress and political activist melina mercouri. (greece was again glamorized and popularized for americans and others with anthony quinn in mihalis kakogiannis 1964 zorba the greek and which was even a big hit in cairo. ) the new rififi dvd includes a recent interview with dassin. i did not previously realize that one of the main robbers and cesar the milanese and was played by dassin and who stepped in when the original actor became unavailable. he one of the most memorable characters and a dandified italian safe cracker who speaks no french. although this classic has all the trappings of french film noir the black and white twilight world of well lit apartments and shiny black cars and men in suits and the nightclub scenes and including a dramatically filmed and lit title song performed at the club and the stony faces and the gauloises in hand or mouth i do not think it as atmospheric or has quite as distinctive a style as melville films do. but there the mesmerizing robbery and which still holds up today as a tour de force. it goes like clockwork and with a fine sense of craft and teamwork among the robbers. some nosy cops are efficiently dealt with. things quickly go wrong after they go home and distribute the loot when one of the players gets sloppy and gives a dame a ring with a million dollar bangle in it. has there ever been a heist film whose perps lived happily ever after. it the wordless heist sequence that guarantees this a special place and and dassin and an american director who had an unusually varied and exotic career and deserves full credit for that. he took a novel so conventional he was going to reject it and and added some key elements that make it special. in the event and he couldn not pass on doing the adaptation represent he needed the money too much. jean servais and who plays the lead character tony le stephanois and was an actor rather down on his luck. his grim face is perfect for the role. he was later to play the lead in dassin he who must die (1957) and which used french actors in greece for a political tale. topkapi is a somewhat disappointing 1964 caper film (it pales compared to rififi) that also got us distribution. it does have a good setting and but it wasted and gone all bland and bright and prettified. of dassin post hollywood oeuvre and never on sunday and with its catchy theme song and charismatic heroine and is the popular choice (and won best film at cannes 1960) while he who must die the political choice while rififi the genre choice. an odd piece is his phaedra with mercouri and tony perkins (1962). purists of tough guy hollywood genre work would eschew these and favor dassin early films and which include a prison drama and brute force (1947) while a cop flick and the naked city (1948) while and two hard core noirs and thieves highway (1949) and and night and the city (1950). personally i tend to like french noir and american neo noir spinoffs better than the original american noir source material hence my enduring fascination with rififi. but dassin is rather unique in having not only made hollywood noir but then going over to paris and producing a memorable example of its fifties french derivative. 
a recent re issue of the french crime film (original title du rififi chez les hommes) and with its famous 20 minute silent jewel heist sequence and now comes in the us in a gorgeous new print from the criterion collection with improved subtitles and some extras. jules dassin was an american (born julius dassin in middletown connecticut) who was forced to make films in europe because he was blacklisted. rififi was well publicized in the us and did well in art houses. later dassin became a lot more famous in the us for never on sunday (1960) starring his wife and the greek actress and political activist melina mercouri. (greece was again glamorized and popularized for americans and others with anthony quinn in mihalis kakogiannis 1964 zorba the greek and which was even a big hit in cairo. ) the new rififi dvd includes a recent interview with dassin. i did not previously realize that one of the main robbers and cesar the milanese and was played by dassin and who stepped in when the original actor became unavailable. he one of the most memorable characters and a dandified italian safe cracker who speaks no french. although this classic has all the trappings of french film noir the black and white twilight world of well lit apartments and shiny black cars and men in suits and the nightclub scenes and including a dramatically filmed and lit title song performed at the club and the stony faces and the gauloises in hand or mouth i do not think it as atmospheric or has quite as distinctive a style as melville films do. but there the mesmerizing robbery and which still holds up today as a tour de force. it goes like clockwork and with a fine sense of craft and teamwork among the robbers. some nosy cops are efficiently dealt with. things quickly go wrong after they go home and distribute the loot when one of the players gets sloppy and gives a dame a ring with a million dollar bangle in it. has there ever been a heist film whose perps lived happily ever after. it the wordless heist sequence that guarantees this a special place and and dassin and an american director who had an unusually varied and exotic career and deserves full credit for that. he took a novel so conventional he was going to reject it and and added some key elements that make it special. in the event and he couldn not pass on doing the adaptation represent he needed the money too much. jean servais and who plays the lead character tony le stephanois and was an actor rather down on his luck. his grim face is perfect for the role. he was later to play the lead in dassin he who must die (1957) and which used french actors in greece for a political tale. topkapi is a somewhat disappointing 1964 caper film (it pales compared to rififi) that also got us distribution. it does have a good setting and but it wasted and gone all bland and bright and prettified. of dassin post hollywood oeuvre and never on sunday and with its catchy theme song and charismatic heroine and is the popular choice (and won best film at cannes 1960) while he who must die the political choice while rififi the genre choice. an odd piece is his phaedra with mercouri and tony perkins (1962). purists of tough guy hollywood genre work would eschew these and favor dassin early films and which include a prison drama and brute force (1947) while a cop flick and the naked city (1948) while and two hard core noirs and thieves highway (1949) and and night and the city (1950). personally i tend to like french noir and american neo noir spinoffs better than the original american noir source material hence my enduring fascination with rififi. but dassin is rather unique in having not only made hollywood noir but then going over to paris and producing a memorable example of its fifties french derivative. ---------------------------------Answer Question Below----------------------------------

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