DU RIFIFI CHEZ LES HOMMES “RIFIFI”(1955)

SHORT REVIEW: A brilliant film. Finally proof that not everything in France stinks. Blacklisted director Jules Dassin’s masterful film noir about an ex-con who is pulled into one final heist is a film any lover of cinema simply must see. Yes, the plot is the same you’ve heard a thousand times, the ex-con is roped into a final job, things go wrong and criminals begin to act criminal. The difference here is that this film was really the first of its kind in many ways. This can be considered to be the grandfather of all heist films, at least modern heist films. When you watch films such as Inside Man, Reservoir Dogs, The Score, Oceans 11, Sexy Beast, To Live And Die In L.A., and other multi-layered and complex heist pictures, their lineage can be drawn back directly to this film. Some films have a scene that defines the whole production and stands as a notable moment in cinematic history. When one thinks of Hitchcock’s Psycho they are taken to the shower scene. Raiders of The Lost Ark brings back memories of the opening scene with Indy greedily looking over the golden idol. Fast Times at Ridgemont High has that shot where Phoebe Cates is walking past the pool and she opens up her…er, scratch that last one. Du Rififi Chez Les Hommes (also known as just Rififi in the U.S.) has its seminal scene work as well. Dassin provides a detailed look at the thieves plotting to perform their heist. The film shows so much detail on how to perform the robbery that the film was censored for a while out of fear the audience would take the movie as an instructional guide. This scene has enough detail that this fear doesn’t seem irrational. As it stands however, this scene has influenced decades of similar scenes in films around the world. Looking at the rest of the film, it is very impressive and interesting to watch. It does pale somewhat to the aforementioned plotting scene. The situation with his film is reminiscent of films such as Marathon Man or Bullitt where there is a stunning scene or sequence that is vivid and memorable that makes the remainder of the film fade into the background. Jean Servais creates a striking figure as the rundown ex-con Tony le Stéphanois. He is a beaten down, more wrinkled version of Humphrey Bogart. Unlike Bogart’s characters, Stéphanois feels quite complicated and real. He is kind and loving to his Godson and has a sympathetic streak to him. On the flip side, the man is a cruel and self-serving monster who is willing to brutally beat women. His dual personality makes for a vibrant character who anchors the piece nicely. The other performances in the film are also well done and support Servais. The story however does get thin in places and is wanting in the second act as it heads towards the critical heist sequences. This admitted, even these thin areas are interesting enough to keep the film afloat until the areas of interest are reached. If you like heist films and can stand subtitles, this is a film you must track down. If you’re just into great cinema, again, this is one you must see. I for one thoroughly enjoy this production. It is a great film about a French thief. Still waiting on that film about a recent French war hero…or firm moralist…or soap salesman…