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
Mexican authorities pulled the movie from theaters after multiple burglaries were committed employing methods similar to those shown. See more »
When the "modest" Mario gets out of the bathtub, one can see briefly that he has boxer shorts on. 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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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 »
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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