Amid a semi-documentary portrait of New York and its people, Jean Dexter, an attractive blonde model, is murdered in her apartment. Homicide detectives Dan Muldoon and Jimmy Halloran ... See full summary »
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 »
Greece, in the 1920's, is occupied by the Turks. The country is in turmoil with entire villages uprooted. The site of the movie is a Greek village that conducts a passion play each year. ... See full summary »
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
The argot slang that the novel was written in was incomprehensible to writer/director Jules Dassin, so much so that he had to have his agent who suggested it, read it to him. The producer initially refused because he had been courting a woman for some time and had "plans" that night. Dassin told him that he'd lost his woman and that he had to come over and read it to him (which he did). When he finally understood the story he claims that he was "shocked" by its content (the story involves necrophilia, amongst other things) and was prepared to tell Henri Bérard that he didn't want to do the film. What changed his mind was his blacklist-induced poverty. He then cut Auguste Le Breton's novel down to a story of a heist (which was only a small element of the actual story). Le Breton was infuriated and came to Dassin and asked, "Where is my book?". Dassin explained the situation to him, but Le Breton ignored him and simply repeated "Where is my book?" until eventually drawing a pistol and placing it on the table as a threat. Dassin claims that the threat of violence over such a matter and the appearance of Le Breton was so ridiculous that he simply broke out with laughter. Le Breton then laughed and the two got along fine, despite the disagreement. See more »
When they get in the car to drive to the heist, one of the guy's coats partially hangs out of the car when the door is closed. However, when they're driving there is no coat to be seen. See more »
You're not the only one that had an unhappy childhood, there are millions like you, and, in my eyes, *they* are the tough ones, not you!
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I've watched many film noirs in my day, but this would be one of the few French noirs that I've seen. In some senses, it's like most other film noirs: you have tough guys ("rififi" meaning tough guy), capers, and things going bad. There are no femme fatals in this one though.
So why does this film stand out? Why in the world would I watch this over any other of the hundreds of film noirs that were made in the world? Well, for the first half hour of the film, I couldn't figure it out either. In fact, it was kind of mundane. And then came the jewel heist. This is a stunner--for almost half an hour, there is not a word of dialogue and minimal sound effects. What's more, the tension gets thicker and thicker despite the silence.
The rest of the movie goes forward in a more typical fashion, but the caper itself is pretty impressive. The rest of the story is fine, a far as film noirs go. It doesn't help to elevate the film a lot, but the middle section makes the film worth watching.
It's good overall, and exceptional in the middle. 7/10.
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