The close shots of sweat-coated faces were stunning. Beautifully framed photography permeated right through, and into a final act that resolved - and crumbled - in a regressing cycle of tiny thwarting misfortunes. Thrilling and exquisite - a truly great heist film.
Very nice, but most of it is in every way milder than Dassin's masterpiece Night and the City. The acting, for instance, leaves much to be desired. The last fifteen minutes are absolutely classic.
Set the tone for future heist films like "The Killing" or "Heat" (which were IMO better), but Rififi is amazing on its own: exciting, entertaining and gripping, a true classic !!! "Wake up, you bastard, I don't want you to miss anything" ==> bam
Superb location photography, great characterisation and a definitive heist sequence make this a must-see noir. The taut narrative and risque interaction between the underworld characters hasn't dated, but the inevitable tragedy for all involved felt like a product of its time.
A heist movie as cool as they come. With nice, hard b&w cinematography. The proceedings leading up to the break-in and the characters are very well presented.
Certainly a heist movie. The basic plot points are about what you'd expect and I found it quite reminiscent to Bob le Flambeur, only with less engaging characters. Where this movie finds its footing is in the architecture of individual scenes/sequences. The famous dialogue-free heist and the overall look of the film elevated the material so it felt fresh. The style was noticeable but not intrusive.
Very entertaining until the famous heist scene, after which it loses it's direction and turns very generic. Apparently Jules Dassin decided to cut huge swaths from the original novel and it shows.
The centerpiece heist scene is amazing, the way sound is used in that sequence really heightens the tension. The rest of the film is very good as well, I thought most of the characters were pretty strong. Besides a few minor things I disliked about it, I think it's a great film overall.
A flawless heist film against which all others should be judged. The elliptical narrative is a masterful example of classic dramatic structure. The first act functions as introduction to Tony le Stephanois, utterly down-and-out, and a perpetually grey, rain-soaked criminal underworld. Most famous is the near-silent robbery, as methodical and suspenseful as anything Hitchcock ever filmed. Finally the film deteriorates into a tragedy of Greek proportions, never relenting its bleak disposition.
one or two mixed bag elements, the ending was especially iffy. my biggest gripes are a couple things that make no logical sense, making plans over the phone while never really actually giving a where or when, and a mother pulling her child out of a crashed car while leaving her dying brother-in-law there without a second thought. the actual lead up to and heist it's self are utterly awesome. good watch, not to be ignored.
This is a really cool French crime film. The heist scene itself was awesome. I loved how meticulous they were (both the characters and the filmmakers). That’s only half the film though - the rest is the consequences of the crime. It ended up being far more exciting and suspenseful than I anticipated. I really enjoyed it overall. It also shows how the French were leagues ahead of the US in terms of pushing the envelope content-wise.
Dark, dreary Paris; in this film a shower of deep shades of black and grey. A notorious, immoral underworld of doom and gloom, and inevitably death (and with it, failure). The perfect heist does not exist, the minute details, the promise of glory and riches unknown to the common man (and its seeming immortality) are all illusions. We know it, the crooks know it, but somehow they still search and try their hand, always coming up with a bitter fate. The best heist scene ever.
One of the two best heist movies along with Heat I have ever seen only this one was engineered in 1955. Sadly the heist movies of today are all flawed and depend mostly on jumping thru the laser lines in the vault room or overriding voice recognition coded, finger print coded security systems and a lame love story.
The heist directots of today who can't understand why they fail to build proper tension and emotion despite such scenes, should study Rififi first.
The dank and damp, unappealingly risque, devoid of heroes Parisian underworld of this film is so far removed from the Hollywood pictures of the 1950's it's like a cold, hard, sexy slap in the face.
Clearly, Rififi set a benchmark for future heist-movies. Nevertheless, it still got a bunch of startling scenes that can make your jaw drop. It can't be said often enough how much tension is created without words during the actual heist-scene. Another impressive scene is the final scene when the excellently narrated story finds its climax - storytelling-wise as well as filmmaking-wise. 04/07/09
An extremely well crafted Heist/Noir movie. The actors that played the four robbers are absolutely fabulous and make a very compelling crew. The actual robbery scene literally had me on the edge of my seat and really got my heart beating. But after that section of the movie it started to lag a bit for me, but was still irresistible to watch.
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