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See Du rififi chez les hommes 1955.
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See Du rififi chez les hommes 1955.
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Description: 1950, a tiny city in Poland. Not the greatest times for store owners like Jozef Piasecki - obstacles from authorities, restricted wholesale supplies. Moreover, he constantly argues with his son, the 17 year old Witek. Witek experiences love for the first time. This could be a time of nice excitement for him, but Witek, being rather anxious about the future, becomes an example of a youth generation growing up under the long shadow of Stalin.
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Description: In the future, a strange fungus has changed nearly everyone into a thoughtless, flesh-eating monster. When a scientist and a teacher search a woman who seems to be immune to the fungus, they all start a adventure to save humanity.
Description: Isabelle and Maxime are a pair of lighthearted lovers -- that is, until Isabelle gets the itch for motherhood. When she confesses her desire for a child, Maxime panics. As a cartoonist by trade he is far from financially stable, so he outright rejects the concept of parenthood. What follows is a roller-coaster romance full of recriminations and reconciliations, until Maxime gotta ultimately decide whether his fear of becoming a parent is a reason to leave.
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Du Rififi Chez Les Hommes/Rififi(1955) can on the surface be described as a French variation on John Huston's seminal heist film, Asphalt Jungle(1950). The difference between the two movies is Rififi(1955) pays a tiny more attention in feature to the robbery sequence. Also, the police aren't involved in the aftermath of the robbery in Rififi as much as in Asphalt Jungle. In the end Rififi(1955) is in my opinion a slightly better movie than Asphalt Jungle(1950). Remarkable Noir picture that defines 1950s French Cinema. Spartacus(1960) may have been the one which broke down the infamous blacklist, but in my opinion Rififi(1955) was the movie that began to break apart the unbreakable Hollywood blacklist. First movie in five years for Jules Dassin who was victimized by the McCarthy communist hunt of the late 40s to early 50s. He got some sort of retribution when Rififi(1955) became a success around France and Europe. Thus defying the poisonious Hollywood blacklist in a major method that probably inspired others to do the same. Rififi(1955) is the most necessary movie of Dassin's career because it not only restored his name, but also gave him a second possibility at making films. Jules Dassin gave the filmworld and its ever growing audiences a masterpiece of influential proportions. His handling of the material is exceptional and direction of the actors is flawless. Builds up tense cases with precise craftsmanship. Dassin came full circle in the Movie Noir category by directing his greatest and last Noir, Rififi(1955). Marked the end of Dassin's period in filmmaking when he was involved in doing Noir pictures. Rififi(1955) is the number one movie in an arsenal of thirty plus movies for director, Jules Dassin. A masterpiece in acting, cinematography, directing, editing, and writing. Not a movie to leave your seat for one minute because there is everytime something memorable going on. As brilliant as anything by Jean Pierre Melville who was a master of this kind of film. Masterpieces such as Rififi(1955) are relatively tiny compared to the probably billions of movies made in motion picture history. The one fascinating aspect of Rififi is the precise planning and attentive execution of a robbery that takes up a bulk of the 118 minute duration. The main characters plan and execute the jewel heist in the same method a movie director prepares for the pre-productions, production, and post-production of a film. Shows how hard a Jewel heist like in Rififi(1955) is in committing and why very several would do something like it. The fact that the stage hardly includes a mess up like in another heist movies turns this stage into something even greater. Close as one can receive to having a excellent sequence in a motion picture. Lack of unnatural sound in the landmark thrity minute heist sequence puts it in a realm of absolute realism. Any dialogue or/and melody would crash any suspense and tension the director is trying to create. The test of natural sound makes the heist sequence a rewarding movie viewing experience. Actually Filmmakers and producers would test dialogue and melody in a stage like this because of a lack of confidence of a mainstream filmgoer's patience. Sustains a lvl of consistency that never once lets down. Maintaining a high lvl of suspense is what makes the heist sequence tick to perfection. The director achieves suspense in the heist sequence that's rarely equaled in most robbery scenes from heist films. Jean Servais and the rest of the main actors contribute to the suspense with some weak key acting. Getting suspense place in a stage is a task several are capable of doing. The robbery sequence of Rififi(1955) reaches a Hitchcockian lvl of suspense and tension. Many filmmakers from the years following Du Rififi Chez Les Hommes(1955) have been influenced if not inspired by it. One filmmaker influenced was Jean Pierre Melville(original choice for director of Rififi)who used variations of the heist sequence in Le Doulos(1961), and Le Cercle Rouge(1970). Other filmmaker influenced was Stanley Kubrick who made a similarly themed movie in The Killing(1956). Also, Quentin Tarantino whose debut detail Reservoir Dogs(1992) was inspired by this film. Another movie directors influenced are John Woo, Michael Mann, Paul Schrader, Ringo Lam, etc... Du Rififi Chez Les Hommes(1955) is comparable to Bob le Flambeur(1955) in many ways. One, Jules Dassin and Jean Pierre Melville directed groundbreaking movies in Rififi(1955) and Bob le Flambeur(1955). Two, every movie involves an aging criminal who plans and carries out a daring heist. Three, Bob le Flambeur and Rififi finishes in fatalistic fashion. Four, every movie shares many motifs and cases that classify the two as movie greats. Part of Rififi's charm are the colourful characters that surround the storyline such as Tony le Stephanois, Jo le Suedois, Mario Farrati, and Cesar le Milanais. Most of the violence is implicit yet effectively brutal. The main characters led by Tony le Stephanois abide by a powerful outdated code of honor that is remindful of Sam Peckinpah and John Woo. Jean Servais becomes the role of Tony le Stephanois with his cynical outlook and tired looks. Du Rififi Chez Les Hommes/Rififi(1955) became a favourite of mine the moment I saw it on the large screen from beginning to end.
Rififi deservedly gets a lot of mention for the popular heist scene, and, indeed, that stage deserves all the credit it gets. It's a masterful piece of suspense, hero interaction and photography. But Rififi isn't just this one stage - each stage in the movie is as masterfully place together, and as a whole, the movie is not only taught with suspense, plot and character, but an adroitly said moral tale that set the stage for movie noire for years to come.Cinematically and technically, the heist sequence may be the most impressive stage of the film, but for me, it's the final stage that holds the most power - Tony le Stéphanois's hallucinogenic drive towards redemption.
After five years in prison, Tony le Stéphanois (Jean Servais) meets his dearest mates Jo (Carl Möhner) and the Italian Mario Ferrati (Robert Manuel) and they invite Tony to steal a couple of jewels from the show-window of the popular jewelry Mappin & Webb Ltd, but he declines. Tony finds his former girlfriend Mado (Marie Sabouret), who became the lover of the gangster owner of the night-club L' Âge d' Or Louis Grutter (Pierre Grasset), and he humiliates her, beating on her back and taking her jewels. Then he calls Jo and Mario and proposes a burglary of the secure of the jewelry. They invite the Italian specialist in safes and elegant wolf Cesar (Perlo Vita) to join their squad and they plot a excellent heist. They are successful in their plan, but the D. Juan Cesar makes things go wrong when he gives a valuable ring to his mistress."Du Rififi Chez les Hommes" is a superb film-noir, certainly among the greatest I have seen. The screenplay has credibility, supported by an nice direction of Jules Dassin, stunning performances of the cast and nice cinematography. Jean Servais has outstanding performance in the role of a criminal with principles guided by the underworld rules. The popular long silent sequence of the heist is nice and extremely tense and certainly among the greatest ones of the cinema history. I am listing this nice film in my list of favourite films ever. My vote is ten.Title (Brazil): "Rififi"
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