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Rififi (1955)

Du rififi chez les hommes (original title)
Not Rated | | Crime, Thriller | 5 June 1956 (USA)
Trailer
1:52 | Trailer

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Four men plan a technically perfect crime, but the human element intervenes...

Director:

Jules Dassin

Writers:

Auguste Le Breton (novel), Jules Dassin (adaptation) | 3 more credits »
6 wins & 1 nomination. See more awards »

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Stars: Alain Delon, François Périer, Nathalie Delon
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Cast

Cast overview, first billed only:
Jean Servais ... Tony le Stéphanois
Carl Möhner ... Jo le Suedois
Robert Manuel Robert Manuel ... Mario Ferrati
Janine Darcey Janine Darcey ... Louise
Pierre Grasset Pierre Grasset ... Louis Grutter aka Louis le Tatoué
Robert Hossein ... Remi Grutter
Marcel Lupovici Marcel Lupovici ... Pierre Grutter
Dominique Maurin Dominique Maurin ... Tonio
Magali Noël ... Viviane
Marie Sabouret Marie Sabouret ... Mado les Grands Bras
Claude Sylvain Claude Sylvain ... Ida Ferrati
Jules Dassin ... Cesar le Milanais (as Perlo Vita)
Armandel Armandel ... Second Gambler
Alain Bouvette Alain Bouvette ... Footman, 'L'Age D'Or'
Alice Garan Alice Garan
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Storyline

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

Plot Summary | Plot Synopsis

Taglines:

IMPORTANT! Because of the extraordinary nature of "Rififi", no one will be seated once this film has begun. See more »

Genres:

Crime | Thriller

Certificate:

Not Rated | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

France

Language:

French | Italian | English

Release Date:

5 June 1956 (USA) See more »

Also Known As:

Rififi See more »

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Box Office

Opening Weekend USA:

$17,981, 23 July 2000, Limited Release

Gross USA:

$57,226, 29 November 2015
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Mono (Western Electric Sound System)

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

For the scene where Jo and Mario inform Tony of their intent to "knock over" the Mappin & Webb, the crew placed a table and three chairs in front of a phony window frame in the middle of the street to create the illusion that they were sitting in a cafe across the street from the jewelers. See more »

Goofs

When Tony and Mario go out in the black Citroen to time the drive with a stopwatch, they start out in a car with the standard grille and plate # 2126 DB75, but after the first turn they are in a car with an after-market grille and plate # 3510 BU75. See more »

Quotes

Mario Ferrati: [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.
See more »

Connections

Referenced in L.A. Noire (2011) See more »

Soundtracks

Le Rififi
Music by Philippe-Gérard
Lyrics by Jacques Larue
Performed by Magali Noël
See more »

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User Reviews

the absolute best
14 December 2004 | by loydmooneySee all my reviews

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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