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
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 the injured Tony is driving through the streets, in several shots, every person on the sidewalk in the background is looking at the car and the camera vehicle doing the filming. 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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If any film approaches perfection, this is the one. Pound for pound and scene for scene it is the best. The only others even close are the Maltese Falcon and Asphalt Jungle, but this is the baby that beats even them. For sheer black and white beauty it is the equal of Asphalt, and just never lets up. Its ending is one of the best of all time, easily the equal of Citizen Kane. And making it even more amazing it that it was cobbled together in desperation: and made for practically nothing. In short, a bloody miracle.
It builds beautifully. Everything in it works, even down to the great music of George Auric.
Shot in early winter or late spring, it is authentic down to the white gangster breaths on the air. Paris never looked more dangerously beautiful.
Of all the films I have ever seen, it is the only one I would give a nine and a half to. And since most of it works very well without comment, probably it is best to just say, watch it and behold.
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