Movie "Rififi" (1955)

    Movie's ratings

    Du rififi chez les hommes 1

    " A Sensational New Motion Picture"
    Country
    Spoken Language
    Runtime 1 hr 58 min
    Premiere: World $525 772 April 13, 1955
    USA $517 975
    Other countries $7797
    Premiere: USA $517 975 June 5, 1956
    theaters 2
    rollout 128 days
    Parental Advisory Alcohol, Drugs & Smoking, ...
    • Alcohol, Drugs & Smoking

      average

    • Frightening & Intense Scenes

      few

    • Profanity

      few

    • Violence & Gore

      few

    • Sex & Nudity

      few

    Production Companies Société Nouvelle Pathé CinémaPathé Consortium CinémaIndusfilms...Primafilm

    Description

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

    Сast and Crew

    Book Behind the Film "Rififi" (1955)

    About the Book

    The film "Rififi" is based on the novel Du rififi chez les hommes by Auguste Le Breton. The book is a crime novel that delves into the underworld of Paris, focusing on themes of loyalty, betrayal, and the intricacies of a heist.

    About the Author

    Auguste Le Breton was a French author known for his crime novels. His works often explore the gritty and dark aspects of criminal life, drawing from his own experiences and observations of the Parisian underworld.

    Film Adaptation

    The film adaptation, directed by Jules Dassin, is considered a faithful representation of the novel's core themes and plot. While some elements were adapted for cinematic purposes, the film retains the novel's intense atmosphere and complex character dynamics.

    Key Differences

      • The film emphasizes the heist sequence, which is a central part of the novel but is expanded in the movie for dramatic effect.

      • Character development and interactions are more detailed in the book, providing deeper insights into their motivations and backgrounds.

    Production

    The film Rififi was originally to be directed by Jean-Pierre Melville, a later luminary of the heist film genre. Melville gave his blessing to American director Jules Dassin when the latter asked for his permission to take the helm. It was Dassin's first film in five years. He had been blacklisted in Hollywood after fellow director Edward Dmytryk named him a Communist to the House Committee on Un-American Activities in April 1951. Subsequently, Dassin attempted to rebuild his career in Europe. Several such film projects were stopped through long-distance efforts by the US government. Dassin attempted a film L'Ennemi public numero un, which was halted after stars Fernandel and Zsa Zsa Gabor withdrew under American pressure. An attempt to film an adaptation of Giovanni Verga's Mastro don Gesualdo in Rome was halted by the US Embassy. Dassin received an offer from an agent in Paris, France where he met producer Henri Bérard who had acquired the rights to Auguste Le Breton's popular crime novel Du Rififi chez les hommes. Bérard chose Dassin due to the major success in France of Dassin's previous film The Naked City.

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    Jules Dassin — Top Rated Movies

    Critique: 8

    88%
    7 1
    BBC August 12, 2002

    The heist in Rififi is a dazzling and suspenseful set-piece.

    Village Voice September 1, 2015

    Viewers become something like collaborators, invested in working out what, say, that umbrella is going to be used for – and then pleased to di...

    calendarlive.com February 13, 2001

    One of the great crime thrillers, the benchmark all succeeding heist films have been measured against, it’s no musty museum piece but a...

    archive.org March 18, 2020

    A pity that the film degenerates through attempting too much; for in the first half, when Dassin is working within his limitations, he creates an a...

    Austin Chronicle May 12, 2001

    A quintessential film noir

    RogerEbert.com September 27, 2002

    There is something else unique about the heist scene: It is the centerpiece of the film, not the climax.

    film.guardian.co.uk August 20, 2002

    One of the greatest crime movies ever made.

    film.guardian.co.uk October 30, 2007

    Jules Dassin’s classic jewel-thief caper of 1955 looks as smart as paint, with its unendurably tense, entirely wordless robbery sec...

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    Quotes

    The only way to win is to cheat.

    I don’t like guns, but I like what they can do.

    You can’t trust anyone, not even your own shadow.

    A man is only as good as his word.

    In this world, there are those who take and those who get taken.

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    Watched

    Noir crime thriller, with fatal men instead of women, a powerful ending.

    Translated to English