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Max, an old gangster, and his buddy Riton have got away with 50-million francs in gold bars, who think they ought to retire now. But Riton's girl-friend is tired of him, and has a new protector, Angelo, who is the boss of a rival gang. Through her, Angelo learns about his rival's "grisbi" (loot) and plots to get it. So he kidnaps Max's partner. Max asks some of his friends for help but then gets the message he can exchange the money for his partner. Written by
Stephan Eichenberg <email@example.com>
When the submachine guns are removed from the wine box, they are Sten Submachine guns. When they are removed from the car after the ambush they are Sten Guns. When they are finally shot at the retreating gangsters, they have become two different models of Thompson Submachine guns, an early civilian model of a Thompson and a military model (M1 or M1A1) of a Thompson. See more »
[after being thrown out of the car]
You leaving me here? How am I gonna get back?
Try hunting snails, Daddy-o.
See more »
The title of this French film noir is slang for "loot". Jean Gabin stars as racketeer Max. Seeking out the finer things in life, Max intends to pull one last job and retire. After stealing a fortune in gold, our hero is faced with a crisis of conscience when his best friend (Rene Dary) is kidnapped and held for a huge ransom, the proceeds of this last job. Max manages to turn the tables on the abductors, but his dreams of a life of ease explode in his face. Up-and-coming leading lady Jeanne Moreau plays a pivotal role as the femme fatale who leads Dary into the hands of his kidnappers.
An intriguing film that inverts many of the film noir cliches. The heist which drives the film's plot has already occurred when the film starts, which has the effect of shifting the film's focus from the crime itself to the consequences of leading a life of crime. The characters are portrayed less like criminals than businessmen, calmly going about the business of earning a living. As a result, the few scenes of violence that occur are more shocking than they would be in a more routine crime film. An intriguing film that clearly influenced subsequent French crime films, especially Jules Dassin's "Rififi" and Jean-Pierre Melville's "Bob le Flambeur".
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