Rififi Tokiossa

Original title: Rififi à Tokyo

1963
K-16
1h 38m

IMDb RATING

5.8/10

156

YOUR RATING

Adventure Crime Drama

Van Ekken, an old gangster, arrives in Tokyo to direct a bank hold-up, to get a very valuable diamond, so big it's named Titan. Riquet was to be his second-in-command, but a rival gang shoot... Read allVan Ekken, an old gangster, arrives in Tokyo to direct a bank hold-up, to get a very valuable diamond, so big it's named Titan. Riquet was to be his second-in-command, but a rival gang shoots him down before the big day. Marsen, Riquet's friend, substitutes for him. Françoise, th... Read allVan Ekken, an old gangster, arrives in Tokyo to direct a bank hold-up, to get a very valuable diamond, so big it's named Titan. Riquet was to be his second-in-command, but a rival gang shoots him down before the big day. Marsen, Riquet's friend, substitutes for him. Françoise, the companion of another gang member, will compromise the attack to the vault, but eventuall... Read all

See production, box office & company info

IMDb RATING

5.8/10

156

YOUR RATING

See production, box office & company info

See more at IMDbPro

Photos10

Karlheinz Böhm and Michel Vitold in Rififi Tokiossa (1963)

Keiko Kishi and Eiji Okada in Rififi Tokiossa (1963)

Karlheinz Böhm and Barbara Lass in Rififi Tokiossa (1963)

Barbara Lass and Michel Vitold in Rififi Tokiossa (1963)

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Trivia
Future husband and wife more than 17 years after the making of this film, 'Karlheinz Böhm' and Barbara Lass, then respectively married to actress Gudula Blau and movie maker Roman Polanski, met on the shooting of this film.

Connections
Edited into Dusk to Dawn Drive-In Trash-o-Rama Show Vol. 9 (2002)

User reviews3

Review

Featured review

8/10

Terrific Heist Movie

It's unfortunate that this gem is so little known, which I'm sure is due in part to its attempt to trade on the name of the original 1955 Rififi, a genuine certified masterpiece. Still this is a very satisfying caper film in its own right, combining the hard-bitten characters and no-nonsense tone of the earlier Rififi with a target that would not be out-of-place in many recent thrillers, namely a high-tech bank vault in Tokyo. I was fortunate enough to see this on a double bill with Un Homme est Mort (The Outside Man), Jacques Deray's existential French-hitman-in-Los-Angeles picture, which is also highly recommended.

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