A Masterpiece!

Good films always raise compelling questions, whether the format is fiction or documentary fact.

A lot of perfectly good film show their cards early, establish a unique premise and let the audience explore a topic at a leisurely pace, without much in terms of surprise. this film is not one of those films.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Regarded by many critics as the finest film noir ever made, the 1955 Rififi directed by Jules Dassin is available on a 7/10 Criterion DVD. (Why only 7/10? Two image break-ups, including an extended impasse at the beginning of the robbery which undermines this sequence).My personal opinion is that the movie runs far too long and tends to out-stay its welcome, thus allowing the viewer to focus on holes in the plot. For example, I feel trims should have been made to Magali Noel's rendition of the title song, as well as the ailing Jean Servais' climactic drive to Tonio's home, both of which seem to go on forever. The famous, no-dialogue robbery sequence, on the other hand, is commendably taut. Aside from Jules Dassin himself, who, despite his curiosity value, makes an unconvincing Italian romantic, the cast rates as uniformly fine. Servais is especially impressive. Great lighting photography by Agostini and moody sets by Trauner (as well as the inspired use of real Parisian locations) help secure Rififi a place on anyone's must-see list.

The novelty message of this film is that there is nothing really wrong, or in any way seriously deviant, in organizing a professionally planned and carefully executed burglary. Let us be reasonable. Men with obligations are required to earn their living, and to look after their loved ones. Who could want to meet a more everyday family man than Jo the Swede, with his regular wife and little cowboy ? Then there are the bad guys. Mafia-type crazy drug addicts, who'll do anything for a fix, slit throats, and don't hesitate to rub out little children. I've seldom seen a more evil-looking cinematic presence than Marcel Lupovici, who plays the owner of the Golden Age or Cage, Pierre Grutter. He's right up there with Al Lettieri. Those types have no ethics. They stick at nothing. Kidnap, extortion, murder, you name it. They are not decent, like the happy-go-lucky but skilled, clean-living fraternity of straightforward thieves.Then there are the two high spots. The first is the thirty minute heist; a song with no words and no music. Second is the rescue and heroic drive by Jean Servais against all odds, ensuring the little boy's safe return to his mum. Chokes you up. At one point I thought the kid was going to chuck the suitcase with the money out of the car, into the street. But no, it was finally collared by the cops. It should have gone to Jo's widow.Another memorable scene was where Servais shoots Dassin, strictly for ethical reasons. It's possibly the way this scene is shot that makes this shooting so memorable. A lesson in how to shoot a shooting. There's no doubt this film is influential. I kept thinking of Tarantino. Some elusive, nagging reservation prevents me from giving it more than 8 stars.

Tony is the one, the typical noire protagonist always trying to find a window of light with little success. He is on the verge of absolute breakdown, a deserted gangster in an asphalt jungle with an uncontrollable urge to regain his leading role. the plot brings 3 other people around Tony with apparent different motivations. Jo, soon to become the muscle of the group-Mario, the connector who knows people and Cesar, the womanizer who's delicate hands know no boundaries. The tension reaches it's peak when Tony finds out his girlfriend, the only last asset left for him has been already snatched by his arch enemy Grutter. His manhood must be testified. the heist might be his last chance. A warehouse is where the plot is planned. All details seem to be heeded, however we instinctively know there is danger wherever women are involved. Rifif has no usual femme fatale like a typical noir must, instead there is a singer in Grutters club who performs a musical about a gangster who sounds quite similar with Tony. Ironically her relationship with Cesar becomes a key point later when Cesar gives her an extra jewel stolen from the webb's. The heist is a masterpiece when it comes to details in addition to little dialogue and dynamic flow. Everything makes sense: from the fire foam used to make the siren silent to the umbrella. Every step has been well-foreseen. the suspense reaches its heights as the drill penetrates through the chest. With a camera moving rapidly between the 4 faces and with almost no dialogue exchanged, we read through their faces all the hope and fear. the scene is so complete that makes the scene of sharing future plans total unnecessary. The battle must now be fought in another arena. We have been waiting for the final showdown between Tony and grutters. The extra stolen jewel starts a row of events. The movie is quite successful in fueling the set of events leading to the final showdown: Torture, Murder, reconciliation with mado, child in threat, showdown and finally death for all those involved. In the final scene, Tony the wounded wolf gives an infant whom he just saved a ride home, a ride through Paris with all of its monuments, buildings and people is a ride of redemption for Tony towards death.

Nobody does noir like the French. They invented it, and although American and Japanese directors have made exceptional entries in the genre, the French still do it best. For evidence, I present exhibit A, Rififi, one of the greatest gangster/heist movies ever made. Aging gangster Tony, just out of prison, gathers his friends for one last job; cracking the safe at Paris's finest jeweler. It will be the most ambitious job of their careers, with an incredible payoff. And it doesn't end with the heist either. When rival gangster Pierre realizes what they've done and decides he wants in, everything they've accomplished is put in jeopardy.Rififi doesn't waste much time establishing the characters or the setup. Back-story isn't a major concern here. Each man has his own life and personality, but the important thing is that when it comes to business, Tony, Jo, Mario and Caesar are dead serious. They know the rules, and the stakes, and are the absolute best at what they do. Their preparations are complex and painstaking. Casing the joint, memorizing the opening times of the surrounding businesses, finding a way to defeat the alarm system, all are done with the utmost care.All of this leads up to one of the tensest scenes in all cinema; the heist itself. Over half an hour, with no music or dialogue, only the (very quiet) sounds of the men at work. And what work it is. Watching these four men chisel their way through the roof, disable the alarm, and crack the safe is like watching Michelangelo sculpt or Arnold Palmer play a round of golf. It is pure precision, with no margin for even the slightest error. And what creativity they bring to their trade! I have never seen such ingenious uses for a tube of caulk or an umbrella.Most films would have difficulty going this long without sound, but here the silence is an asset. The lack of sound underscores the fact that their work relies on near-total silence. Because there is no music or other background noise, we are keenly aware of every clink of the hammer, every rattle of loose concrete, and the fall of every footstep. The silence creates tension more effectively than any ominous music could. And all the while the clock is, quite literally, ticking. Time itself is their enemy. If Rififi ended with the successful conclusion of their daring burglary, it would be a very good movie. But it does not satisfy itself with a simple happy ending. As in so many of the best noirs, the second half tells how the best plans go awry, and everything begins to fall apart. A minor act of carelessness makes them targets of the most ruthless crime boss in Paris. The body count rises alarmingly, and the bad guys soon gain what is arguably the ultimate leverage.The last act is a masterwork or growing tension, sudden reversals, and hard decisions. And the final scene, which I will not give away, is probably the best of all. The pounding, ominous music, the rapid series of cuts, and the gravity of the situation contrast with the innocence of a young child in a way that is simply incredible. Rififi is fully equal- and perhaps superior to- Chinatown, The Big Heat, or Le Samourai. If you are a fan of classic noir, I highly urge to see this film.