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, aiming for a dark and gloomy film with deep greys as the lightest it would get, refused to film on beautiful sunny days. This supposedly caused much frustration amongst the producers, no doubt because of the prolonged shoot which they saw as unnecessary. 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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West German theatrical version was shortened by ca. 8 minutes (the poker scenes, the telephone scene with Jo and his wife, Mario's funeral, small dialogue scenes of Tony meeting various people, Tony finding Jo's corpse, Tony shooting an already dead gangster). This version was also broadcast on TV. See more »
To me, it seems a very risky idea to attempt a Hollywood-remake of Jules Dassin's 1955 classic RIFIFI. Planned for release in 2007, Al Pacino apparently is gonna play the lead, taking on the role of Tony le Stephanois. Risky business... How they're gonna pull this off?
Ironically, Dassin was blacklisted in Hollywood and went on to try his luck in France and made this little masterpiece, aptly called by some "The Grandddady of all caper- and heist movies". In my opinion, it remains a one-of-a-kind classic, beautifully filmed with one of the most memorable endings ever to be put on film. Whatever one's opinion of the film.
In the last couple of years RIFIFI has become dangerously overpraised. Nevertheless, this French noir-classic shouldn't be forgotten. Go see it, before the remake is out there, in order to have some ammunition for comparing the two.
Camera Obscura --- 9/10
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