Touchez Pas au Grisbi (1954)
"Touchez pas au grisbi" (original title)

Not Rated  |   |  Action, Crime, Drama  |  February 1960 (USA)
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Ratings: 8.0/10 from 4,445 users   Metascore: 85/100
Reviews: 24 user | 36 critic | 8 from

An aging, world-weary gangster is double-crossed and forced out of retirement when his best friend is kidnapped and their stash of eight stolen gold bars demanded as ransom.



(novel), (adaptation), 3 more credits »
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1 win & 1 nomination. See more awards »
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Cast overview, first billed only:
René Dary ...
Dora Doll ...
Vittorio Sanipoli ...
Marilyn Buferd ...
Betty (as Marilyn Bufferd)
Gaby Basset ...
Paul Barge ...
Eugène (as Barge)
Alain Bouvette ...
Le chauffeur de taxi (as Bouvette)
Denise Clair ...
Madame Bouche
Angelo Dessy ...
Lucilla Solivani ...
Nana - la secrétaire de Pierrot
Michel Jourdan ...
Paul Oettly ...
Jean Riveyre ...
Le portier de l'hôtel Moderna


The middle age bon-vivant Max is a former gangster and close friend of his partner Riton. They have stolen eight gold bars of 12 kg each that worth 50-million francs and Max has kept them hidden for their retirement. Riton's mistress Josy is tired of him and has found a new lover to support her, Angelo, who is a dangerous gangster. Riton has made a comment to Josy about the gold and soon Angelo discovers that Max and Riton have the stolen gold. He abducts Riton to force Max to give the gold to him. Will Max exchange his gold for Riton? Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Add Synopsis

Plot Keywords:

gold | gangster | bar | friend | partner | See All (165) »


Not Rated | See all certifications »


Official Sites:




Release Date:

February 1960 (USA)  »

Also Known As:

Grisbi  »

Box Office

Opening Weekend:

$21,674 (USA) (5 September 2003)


$95,793 (USA) (17 October 2003)

Company Credits

Show detailed on  »

Technical Specs


Sound Mix:

(Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See  »

Did You Know?


French censorship visa # 14611 See more »


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 »


Fifi: [after being thrown out of the car] You leaving me here? How am I gonna get back?
Max: [laconically] Try hunting snails, Daddy-o.
See more »


Edited into Histoire(s) du cinéma: Une vague nouvelle (1998) See more »

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User Reviews

Gangsters In Their Pajamas
12 March 2006 | by (USA) – See all my reviews

For fans of American gangster films, Jacque Becker's TOUCHEZ PAS AU GRISBI may seem like a radical departure from the violence and excess of films like THE GODFATHER and GOODFELLAS. It's a quiet film about quiet men, living out their golden years in a dignified manner. Much of the film is spent watching Max (Jean Gabin) as he dines with friends, cavorts with his mistresses and listens to his favorite tune on his old record player. The amazing thing about the film is that there's never any question that Max can be a dangerous man. There's a famous scene where Max and his long-time partner Riton (Rene Dary) eat pate, set up their sleeping quarters, dress in their pajamas and go to sleep without exchanging a word. There's an amazing, soft tension playing through this entire scene. Riton has screwed up a business deal, as he has done many times in the past, and Max is getting fed up. I was reminded throughout this scene of the famous line from GOODFELLAS about assassins coming as friends. This certainly would have been the right time for Max to whack Riton, if that were what he wanted. But he doesn't, because honor and loyalty are important aspects of Max's life, and he will protect his friend even though their big retirement job may be jeopardized. Max is, quite simply, the least Americanized gangster in film history, and he's a remarkable character. Jean Gabin solidifies his reputation as the greatest French film actor of all time through subtlety, nuance, and natural charisma. The film itself is painted with the rich black-and-white brush strokes of the best film noir, and truly succeeds in transporting the viewer to another place and time. A genuine, under-appreciated masterpiece.

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