Rififi

According to the song "Rififi" that one character sings in the film, the title means "rough and tumble". That is a good description of the underworld characters that inhabit this film. The action starts when Tony, who recently was released after five years in prison, re-establishes contact with family and friends, who quickly lure him into a jewel caper. These guys are pros and, with Tony's guidance, they meticulously plan the heist.

The execution of their plan takes place without dialogue or background music, accentuating the silence so necessary for their plan.

In most heist films, the job itself is the final, climactic part of the story. In Rififi, the real story takes place after the job. Without revealing too much, I will say that this is a film about human nature. It reminds us that individuals almost never change their natures.

Furthermore, almost all the characters in this film have their vices or weaknesses. The film talks about "the rules", the unwritten principles that guide the actions of gangsters and conmen alike (for example, not ratting on associates). Due to their weaknesses, many of the characters violate the rules and fall prey to others.

One scene to look for is when Cesar visits the jewelry store to case the security. He asks to use the phone, leaving his cash splayed over the countertop--a strategy of distraction that also is a basic con (confidence game).

This film is blessed with topflight direction, great photography, good acting and a lean, well-written script.

Four professional crooks attempt to steal a fortune in jewels from a heavily guarded jewelry store. This is quite a good film. And it's probably the best heist film I have seen. Tension and suspense are maximized during a 28-minute segment in the middle when there is no dialogue of any kind ... what an accomplishment.

The opening third of the film is almost as good, as we meet the four crooks, led by Tony (Jean Servais), a man just out of prison, but one who cares about his friends and is especially fond of kids. One by one, the other three crooks are introduced, and each contributes his expertise in the planning and preparation, leading up to the actual heist. At a chic nightclub called "The Age Of Gold", we meet Viviane (Magali Noel), a tall, stylish singer with big lips whose stage show includes the song "Rififi", a word used to describe the danger of streetwise tough guys and their risky, outlaw pursuits; how appropriate.

But Viviane's sexiness leads to a situation that causes problems for the four guys, and this plot turn occupies the final third of the film. At nearly two hours the film is a bit long. And this final section, somewhat tedious, might have benefited by a few scenes being shortened. The ending neatly wraps everything up with what is probably the only conclusion that would have been acceptable to an audience in 1955.

The B&W lighting is terrific. With lots of wet streets and no sunshine, outdoor visuals convey a grayish tone throughout, consistent with the film's theme. Side lighting contributes a noir atmosphere in some indoor scenes. The score, especially at the beginning, suggests an element of danger and a noir atmosphere of chic sophistication. Casting and acting are fine.

"Rififi" is an example of a top-notch film made on a low budget. It's got an interesting premise, a well-written script, great visuals, and a Director that knows how to put them all together to entertain audiences; no expensive gimmicks or high-priced actors needed.

RIFIFI

This was a fantastic film by Jules Dassin. Great characters, heist, villains and photography. This was the complete opposite of Kubrick's The Killing. With very little expository dialogue in the script, so much of the movie was told through actions and glances and was left up to the viewer to decipher, whereas The Killing had a narrator helping the audience feel stupid. What I really liked was the main character---he was such a bad-ass that he had a `The' before his name...Le Stephanois.

The passage of time has been very good to Rififi and I think today's audiences will be surprised at how many of today's directors have borrowed form Rififi. Paul Thomas Anderson's HARD EIGHT comes to mind, as the character Sydney is very similar to Le Stephanois. Also recently, Steven Soderbergh's THE LIMEY comes to mind as being influenced by the characters in Dassin's masterpiece. The story is classic film noir: Bad guys pull off heist, get duped at the end. I think today's audiences will like the story. The only thing that doesn't quite hold up is the scene with the woman singing Rififi in the nightclub. It's quaint to watch, but there aren't many(if any) clubs left like this today. Other than that, it holds up excellently.

It was easy to root for Le Stephanois because he was such a decisive man of action. He knew what to do, how to do it, and you know he would get it done. The villain was cast perfectly. He and his junkie brother were wholly contemptible and you REALLY didn't want him to get the money from such an exhilarating heist.

The scene in the film with Le Stephanois trying desperately to make it to Joe's home is brilliantly juxtapaosed with the boy gleefully riding in the covertible as if it was a carnival ride. It was truly a creepy film moment and one of the only times where there was no sound effects and just soundtrack music playing.

Wow, this is the coolest film noir ever. The infamous hush-hush(20 min.) heist scene, and the fact that a blacklisted American makes the ULTIMATE film noir while in Paris, FRANCE...if you haven't seen it...what the HECK are you waitin' for!?!?!? HURRY!!! HIGHEST RECOMMENDATIONS!

'Rififi' is so damn good it takes your breath away! Director Jules Dassin, blacklisted from Hollywood, was living almost hand to mouth in Europe and taking any job he could get, when he made this movie, a project he was initially not at all excited by. Happily he turned around an awful situation and ended up making a classic thriller which is still one of the greatest crime movies ever made. One of the most influential too, having an impact on movies like 'The Killing', 'The Anderson Tapes', 'Thief', 'Reservoir Dogs', 'The Score' and many, many others. 'Rififi' is a classic heist movie but it is much more than that, it is a superbly written and acted character study. The robbery sequence itself is regarded as one of the most impressive in film history, but it is by no means the only thing worth watching this movie for. In fact I'd go so far as to call it perfect. Every time you watch it you discover something more of interest. Jean Servais, who later appeared in the entertaining horror sexploitation movie 'The Devil's Nightmare', is absolutely wonderful as Tony, a veteran criminal talked into joining his young friend Jo (Carl Mohner) in a daring robbery. His performance is first rate, but Mohner and the rest of the cast are equally good, including Drassin himself as Cesar, an Italian safe-cracker who inadvertently causes the gangs ultimate downfall. There's a brilliant scene between Servais and Drassin towards the end of the movie which is short but unforgettable. Look out for it. Truffaut raved about this movie calling it the best Noir he'd ever seen. I don't think he was exaggerating, it really IS that good, and personally I think it's a much better movie than Truffaut's more celebrated 'Breathless'. If you enjoy crime thrillers it doesn't get much better than this! Highly recommended!

You're back outside, after a little time confined, your close friends make you an offer you decline, but after a little contemplation, your respond with affirmation, and counter with a scheme that's more refined. The team is gathered, and the plans are put in place, no stone unturned, and nothing is misplaced, the execution is sublime, pulling off the perfect crime, just keep your heads down, you haven't left a trace. Alas distractions bring your work to the attention, of other villains, putting gains under contention, best endeavours have been flawed, a cascade of cheat and fraud, on this occasion, without salvation, and no redemption.

Great story, great performances, perfectly executed (almost).