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It certainly deserves to be.
Produced by: Henri Berard, Pierre Caaud, Rene Bezard
Distributed by: Pathe (France)
Director: Jules Dassin
Screenplay: Auguste Le Breton, Jules Dassin Rene Wheeler/ adapted from the novel by Auguste Le Breton
Cinematography: Philippe Agostini
Edited by: Roger Dwyre
Music by: Georges Auric
Main Cast: Jean Servais (aging gangster Tony Stephanois), Carl Mohner (Jo le Suedois(Robert Manuel (Mario Farrati) , Jules Dassin (César "le Milanais”), Magali Noel (Vivane)
Tony le Stéphanois: I liked you. I really liked you, Macaroni. But, you know the rules.
Cesar le Milanais: The rules.
Cesar's fate is Dassin's ode to the Hollywood Blacklist
Is RIFIFI the best heist movie of all time?
Well, that is a question for those far more knowledgeable than me, but it is certainly one of the most influential. I’ve long had this on my “must watch list”, but never quite got around to it other than the bits and pieces of it here and there. Therefore, I was really excited to find it scheduled on Turner Classic Movies’ NOIR ALLEY series last weekend as it would be my first opportunity to see it through my currently noir obsessed brain. Did it live up to the hype?
YES. It's about as an essential classic era Film Noir as you'll ever see.
The centerpiece of RIFIFI of course, is the much-talked scene that shows of the robbery of the jewelry store. At about 30-minute in length, it takes place without any dialogue or musical scoring. Facial gestures, the glancing at their watches, and the meticulous robbery itself is the only thing we see.
PERFECT. Sometimes less is more.
It should be noted, however, that the scene where they “case the joint” prior to the robbery is also mostly silent and really helps to foreshadow the actual crime. It was also nice to see the crooks carefully practice in advance the crime – even going as far as figuring out what level of noise would set off the alarm.
As in most heist films, the heart break occurs after the crime has been successfully completed. In RIFIFI, an unagreed upon stolen idem that Cesar gives to his girlfriend (Viviane), leads to the gang’s undoing as a rival group attempts to steal the loot for themselves. In short, pretty standard stuff, but Dassin pulls it off with such artistic flair that it all works brilliantly.
Tony Stephanois betrayal by his old girlfriend provides the incentive for the crime.
The production history of RIFIFI is the stuff of legend in itself. Originally, French Director Jean-Pierre Melville was slated to helm the film, but he stepped aside so that blacklisted American Director Jules Dassin could take over as he had not worked since 1950’s NIGHT AND THE CITY. Working with a very limited budget, Dassin handled much of the location work himself and chose actors that wouldn’t command large salaries (Dassin even assumed the role of Cesar when the original actor chosen wasn’t available). I'll post an interview with Dassin (from the Criterion DVD) in which he talks about the process of filming the movie over in the Noir Thread later.
OK. For the viewers, what does "RIFIFI" mean?! =))
* Actually, RIFIFI won't be added to my personal list of "Film Noir Essentials", since I decided to create a separate list for foreign films, Hitchcock, Proto-noirs, etc..
Great stuff ...
Rififi is certainly up there, not many competitors, for me: double Mann [Heat & Thief]; triple Melville [Bob Le Flambeur*, Le Cercle Rouge ** & Le Deuxieme Souffle**]; Kubrick's The Killing; Huston's The Asphalt Jungle ....
Dassin made another heist movie ten years later, Topkapi, though much lighter in tone, which is probably what distinguishes a heist movie from a caper film. He did make some other great noir or noir-ish movies while in Hollywood: Brute Force; The Naked City; Thieves' Highway.
* proto-Bond
* major influence on Heat
Something I just saw is Pushover (1954), a lesser known, much underated & extremely gritty (for the time) noir that begins with a bank heist. Lots of moral rot and sexual entrapment, with an icy, manipulative Kim Novak radiating a dangerous eroticism much different from that of her far more vulnerable Judy/Madeleine in Vertigo. Indeed, she's much closer to Barbara Stanwyck in Double Indemnity, the obvious analogue, as Pushover also stars Fred MacMurray, as the weak-willed cop Novak seduces into a doomed spiral of crime and betrayal.
A great film with some killer lines, a very strong supporting cast [Dorothy Malone as the good girl; E.G. Marshall; Phil Carey, etc.] and most especially Lester White's archetypal black & white noir cinematography. Intriguingly features several surveillance scenes that that can't help but recall the apartment-building voyeurism of Rear Window, made the same year.
The complete film is here, in 1080p, after the introduction ...
Yes, I am a sucker for some Sandler stupidity and with HG being one of my favorites of his, I actually enjoyed this one as well. Was it unnecessary and overbloated with cameos, yes. But it took me down some nostalgic roads not seen since I was 8.
I was intruiged by this, so I watched it. I had fun. Loved the sets, the 80's synth score, and, uhum, a few other aspects :p
Glad you did. 😄 An alien escaped. Never mind, I'll be in the sauna if you need me... Awesome script. 🤣
Yeah, any excuse was good enough I suppose, but I did not complain 😁
Directed by Michel Hazanavicius, Nicolas Bedos
After the very first Bond spoof, CR67, it was only logical to proceed with the very best Bond parody: the recent OSS 117 films with Jean Dujardin.
Dujardin nails the Connery mannerisms to a tee, even straightening his tie like Sir Sean did in the early 007 films. His Moore-esque "poster poses" in mid-action are hilarious too.
Affectionately recreating Bond film-esque atmosphere, while also having a go at some of the more questionable attitudes of those days: views on other cultures, the position of women, etc. Of course they never lecture the audience, they're just making fun of these things via protagonist OSS 117, who serves as a metaphor for a 1950's world view.
All of these films look fantastic, have intruiging stories, great scores and excellent co-stars in Bérénice Bejo, Aure Atika, Richard Sammel, François Damiens (as a hilarious Belgian stereotype), Louise Monot, Reem Kerici, Ken Samuels, Pierre Niney, Fatou N'Diaye and Natasha Lindinger.
Also, please note the superb title sequences, the first one has DN vibes, the third one has TSWLM vibes (and includes a title song From Africa with Love)
The only thing I should point out, for non-French speakers, is that there are one or two instances of word jokes, which obviously don't translate too well. Happens only a few times, so that shouldn't withhold you from giving these a go.
Ranking them isn't easy because I like all three of them, but here it goes:
1. Cairo, Nest of Spies (Le Caire, nid d'espions)
2. From Africa with Love (Alerte rouge en Afrique noire)
3. Lost in Rio (Rio ne répond plus)
Highly recommended for all Bond fans.
10 years since this came out! Linked to Tarantino and Soderbergh at some points, it's Guy Ritchie who got the gig, and in some ways directs like Soderbergh, with the use of music, split screen etc. Henry Cavill plays Napoleon Solo ( yet didn't get top billing over Armie Hammers Ilya) and is serviceable and that pretty much sums up the movie. It has a great setting in Rome, it's set in the 60's, a fabulous soundtrack from Daniel Pemberton ( with Morricone and Nina Simone thrown in for good measure!) But it never gets out of second gear. There isn't one scene or set piece that stands out! It's saying something for a spy movie that my favourite moment was Alicia Vikanders character getting drunk and teasing Ilya with a dance routine to Solomon Burkes marvellous 'Cry to me' song! The music is fantastic though throughout! Shout out to Hugh Grant stealing the show as Mr. Waverly!
I agree mate. it could have been a really cool romp, but it doesn't quite get there. It's good but not great.
Mind you, Guy Ritchie really knows how to utilise Hugh Grant's talents. He's been brilliant in all of Ritchie's films.
Absolutely mate. Grant is someone who really has improved as actor, and has been giving great performances in lots of movies! Loved him in 'The Gentlemen'! And of course, marvellous in ' Paddington 2'
My thoughts exactly. It has absolutely everything to be an absolute favourite of mine, but it just manages to be good enough. A shame.
Love this song, btw:
Originally written for Profumo di donna (aka "Scent of a Woman")
I think there is enough new territory covered to bring in new fans with plenty of homages to the originals. Neeson delivers as Frank Drebin Jr. and Anderson is surprisingly good as the female lead. The gags are fast and furious, though that franchise isn't poked fun at. Though there is a Mission Impossible gag that was quite fun. Finally a film that doesn't overstay it's welcome as the run time is a shade under 90 minutes. Perfect in length. BTW stay for the end credits, not only for a end credit scene, but also for the credits which have a few gags peppered through out.
I would give it a solid 8 out of 10.
The Devils is definitely his best film. A really gruelling experience, but i love it. Oliver Reed is absolute quality in it. The set design by Derek Jarman is incredibly distinctive.
Of any film this deserves a remastered Bluray/4K. I only have a DVD copy which really doesn't do it justice.
My other favourites of Russell's are Altered States (1980) and Crimes of Passion (1984)
Be interesting to know what you think @FoxRox
Not a huge fan of Ken Russell, regarding waiting on a 4k release of a film, top of my wishlist is Ridley Scotts 'The Duellists', can't understand why it hasn't already been released!!
Turned up on telly last night. I saw this at the time in the cinema. Directed by John Carpenter, and based on Stephen King's novel, it tells of a demonic car , a gorgeous 1958 Plymouth Fury, that transforms a local nerd into a high school stud, Arnie (Keith Gordon). Though nowhere near Carpenters best, it's still very watchable, particularly when the car is causing mayhem, and killing a group of bully's ( led by an impressive John Travolta like William Ostrander!) One scene has the car engulfed in flames and tearing down the highway looking literally like it came from hell! The best scene, though, is down to Roy Arbogasts effects team, who, after Christine is demolished with sledgehammers by said bully's, repairs itself in front of an aghast Arnie! Enjoyable enough, but as I said, not top-tier Carpenter!
Oliver Reed has definitely become one of my favorite actors in more recent years; he was a master of his craft, and could do subtle and explosive equally well. I saw and loved Altered States (1980), and Crimes of Passion (1984) definitely looked interesting, but I haven’t watched it yet. Some of Russell’s movies I haven’t liked quite as much, but when he hits, he hits HARD.