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A private eye escapes his past to run a gas station in a small town, but his past catches up with him. Now he must return to the big city world of danger, corruption, double crosses and duplicitous dames.
Bob, an old gangster and gambler is almost broke, so he decides in spite of the warnings of a friend, a high official from the police, to rob a gambling casino in Dauville. Everything is ... See full summary »
A frustrated former big-city journalist now stuck working for an Albuquerque newspaper exploits a story about a man trapped in a cave to re-jump start his career, but the situation quickly escalates into an out-of-control circus.
After five years in prison, Tony le Stéphanois meets his dearest friends Jo and the Italian Mario Ferrati and they invite Tony to steal a couple of jewels from the show-window of the famous jewelry Mappin & Webb Ltd, but he declines. Tony finds his former girlfriend Mado, who became the lover of the gangster owner of the night-club L' Âge d' Or Louis Grutter, and he humiliates her, beating on her back for being unfaithful. Then he calls Jo and Mario and proposes a burglary of the safe of the jewelry. They invite the Italian specialist in safes and elegant wolf Cesar to join their team and they plot a perfect heist. They are successful in their plan, but the Don Juan Cesar makes things go wrong when he gives a valuable ring to his mistress. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Dassin also claims that he was brought in on the project because of his situation (the Hollywood blacklist). The novel's characters were all North Africans and at the time France was experiencing much trouble with Algeria. This was seen as possibly inflammatory so the producers wanted an American director to soften it by making them Americans instead. Dassin asked if they'd considered simply making them Frenchmen. They had not. See more »
When they do timings by car during the heist preparation, the car changes in between shots. See more »
[to Tony about Cesar]
For a job with you he'll come. Cesar! There's not a safe that can resist Cesar and not a woman that Cesar can resist.
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Rififi deservedly gets a lot of mention for the famous heist scene, and, indeed, that scene deserves all the credit it gets. It's a masterful piece of suspense, character interaction and photography. But Rififi isn't just this one scene - every scene in the film is as masterfully put together, and as a whole, the film is not only taught with suspense, plot and character, but an adroitly told moral tale that set the scene for film noire for years to come.
Cinematically and technically, the heist sequence may be the most impressive scene of the film, but for me, it's the final scene that holds the most power - Tony le Stéphanois's hallucinogenic drive towards redemption.
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