Rififi

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.

Directed by an black-listed American, served as an inspiration to movies like The Killing, Reservoir dogs, Score etc. The characterization was dealt perfectly for this Noir movie with splendid photography too. Many violent scenes are executed with no/minimum gore. Over 50 years since its release and IMO one of the best heist movies. A small issue could be the predictability in the story as many of the later movies had stolen this idea . Favorite scenes in the movie includes 1) the silent robbery scene that happens in the middle of the film which is a nail-bitter. 2) The climax scene. The bottom line is that the movie team had no trouble with script, screenplay or direction and watching this was such a treat.

This film is a work of pure class from start to finish, for a moment forget the famous 28 minute no dialog heist, forget that it's set in Paris and forget it's Noir. The film itself, the premise and the execution make this a pure gold experience.. it's sharp intelligent and thought through in great detail, just like the heist itself. It portrays real characters that are not only believable but whom you empathize with. It's a film that doesn't glamorize the notion of a robbery but shows it for what it is.. theft. It shows that a heist is hard work and ultimately not worth doing. Now all things considered put on top of that a daring 28 minute sequence with not a word spoken and set in gorgeous Paris with truly great attention to detail and fantastic cinematography and that last scene ...when you look up and see those trees... wonderful use of raw and basic filming techniques... it is a master piece in my view and I'm glad to have seen it.

If any film approaches perfection, this is the one. Pound for pound and scene for scene it is the best. The only others even close are the Maltese Falcon and Asphalt Jungle, but this is the baby that beats even them. For sheer black and white beauty it is the equal of Asphalt, and just never lets up. Its ending is one of the best of all time, easily the equal of Citizen Kane. And making it even more amazing it that it was cobbled together in desperation: and made for practically nothing. In short, a bloody miracle.

It builds beautifully. Everything in it works, even down to the great music of George Auric.

Shot in early winter or late spring, it is authentic down to the white gangster breaths on the air. Paris never looked more dangerously beautiful.

Of all the films I have ever seen, it is the only one I would give a nine and a half to. And since most of it works very well without comment, probably it is best to just say, watch it and behold.

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.