Best Director
Cannes Film Festival
Just about flawless. For lovers of tough-guy moviemaking, Rififi really means perfection.



Sixtieth Anniversary Restoration

Back from the pen, homme dur Jean Servais first belts around his ex-girlfriend Marie Sabouret, then rejoins
copain Carl Möhner and cohort Robert Manuel, who’ve got a little jewel store smash-and-grab job lined up — but Servais wants the whole works. With the aid of freshly imported safecracker “César the Milanese” (director Dassin, billed as “Perlo Vita”), the resulting classic heist — a legendary 30-minute sequence with no dialogue or music — provided a usable blueprint for real-life professionals (causing outright bans in some countries) — but then, another of Sabouret’s ex-boyfriends wants a big cut. A world-wide smash, Rififi raised eyebrows for its excessive gunplay, décolletage, and dope use — all of which led to its condemnation by the American Legion of Decency. Blacklisted Hollywood exile Dassin turned a potboiler by milieu specialist Auguste Le Breton into an existential thriller that earned him Cannes’ Best Director prize and set the standard for screen robberies for decades to come — from his own Topkapi to Mission: Impossible — while “Rififi” was subsequently stolen for titles of non-related thrillers. Philippe Agostini’s all-weather location shooting provides an invaluable time capsule of Paris in the ‘50s, with the late Magali Noël warbling the title song.
Not Rated
Crime, Drama, Thriller
Jules Dassin
Jean Servais, Carl Möhner, Jules Dassin, Robert Manuel, Janine Darcey
Winner, Best Director, Cannes Film Festival
Bosley Crowther, New York Times

Do you want to see a tough gangster picture? Do you want to see a crime film that makes the characters of Mickey Spillane seem like sissies and, at the same time, gives you the thrill of being an inside participant in a terrific Parisian robbery? Then go to see "Rififi," which opened at the Fine ...

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