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Rififi

Du rififi chez les hommes

1955

Jules Dassin

Jean Servais, Carl Möhner, Robert Manuel, Jules Dassin ...

8.0

6,951

Film noir. Thriller Tony le Stéphanois (Jean Servais) is a grim, hardboiled crook fresh from a stretch in stir for the noble gesture of taking a rap for his younger buddy Jo le Suedois (Carl Mohner), a mug who mixes crime with his role as a family man. Tony tracks down his old flame Mado (Marie Sabouret). When he finds she's been unfaithful, he first makes her strip and then beats her with a belt so hard he leaves permanent scars on her back. A resulting ... [+]

	Author	Review
United States	Roger Ebert rogerebert.com	"Dassin built his film around a 28-minute safe-cracking sequence that is the father of all later movies in which thieves carry out complicated robberies (...) A milestone in movie history (…) Rating: ★★★★ (out of 4)"	POS
United States	Bosley Crowther The New York Times	"It has a flavor of crooks and kept women and Montmartre 'boites' that you can just about smell (...) The robbery itself is terrific—a good solid half-hour"	POS
United States	Chris Cabin Slant	"The filmmaker puts the focused workmanship of crime front and center, but he upends any sense of sympathy with exquisite symbols of the emptiness and foolishness of gangster life (…) Rating: ★★★★ (out of 4)"	POS
United Kingdom	Peter Bradshaw The Guardian	"With its unendurably tense, entirely wordless robbery section, and its beautifully constructed payoff in the final act (...) A diamond (…) Rating: ★★★★★ (out of 5)"	POS
United Kingdom	Tom Dawson BBC	"The heist in 'Rififi' is a dazzling and suspenseful set-piece (...) The Belgian Jean Servais is perfect as the embittered and physically ailing Tony"	POS
United States	Alan Scherstuhl Village Voice	"The best of all heist movies (...) 'Rififi' mirrors the arcs of the criminal lives it examines: It seduces you in, and then won’t let you out cleanly."	POS
United States	Kenneth Turan Los Angeles Times	"The film's gift for mood, for character, for portraying Paris in a particularly beautiful way, are key to why it remains a driving, compelling piece of work that holds audiences today as much as it ever did."	POS
United Kingdom	Geoff Andrew Time Out	"It's actually rather overrated, lacking the tension, profundity, and vivid characterisation of similar films by, say, Becker and Melville (...) It never penetrates beneath its fashionable, self-conscious surface."	NEU
United States	Variety	"Dassin gives this a sharp treatment and does not neglect the Paris streets and atmosphere (...) Editing is first-rate as is Philippe Agostini’s lensing."	POS
United States	Jonathan Rosenbaum Chicago Reader	"This is a familiar but effective parable of honor among thieves (...) Though it may not be as ideologically meaningful as the juicy noirs Dassin made for Hollywood (...) it's probably more influential"	POS

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