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Title: Touchez Pas au Grisbi (1954)
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| Cast overview, first billed only: | |||
| Jean Gabin | ... | Max dit Max le Menteur | |
| René Dary | ... | Henri Ducros dit Riton | |
| Dora Doll | ... | Lola | |
| Vittorio Sanipoli | ... | Ramon | |
| Marilyn Buferd | ... | Betty (as Marilyn Bufferd) | |
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Gaby Basset | ... | Marinette |
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Paul Barge | ... | Eugène (as Barge) |
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Alain Bouvette | ... | Le chauffeur de taxi (as Bouvette) |
| Daniel Cauchy | ... | Fifi | |
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Denise Clair | ... | Madame Bouche |
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Angelo Dessy | ... | Bastien |
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Michel Jourdan | ... | Marco |
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Paul Oettly | ... | Oscar |
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Jean Riveyre | ... | Le portier de l'hôtel Moderna |
| Delia Scala | ... | Hughette - la secrétaire d'Oscar | |
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
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".