A lot of what I have to say about Rififi would probably read as hyperbole as it stands as not only an important film given its director’s political status, but the way in which it can double as not only an art film, but also a striking piece of cinema that can be enjoyed by any measure of movie lover.
It’s a film noir captured in shadows and silence as a jewel heist takes place over the course of more than 30 dialogue-free minutes after we’ve watched four men meticulously plan every detail. The tension mounts with every pound of the hammer, screech of the hand-powered crank cutting into the safe and the crumble of asphalt, gently landing in an open umbrella with nary a sound. Is there more that needs be said?
Criterion’s new Blu-ray transfer adds much more detail to every inky black scene, elevating the overall effect of this mid-’50s film from director Jules Dassin, who costars as Italian safe-cracker César le Milanais.
Speaking of which, while Dassin’s name was on the film as director and screenwriter, he was credited as Perlo Vita for his role as Ceasar. Despite the French-sounding name, Dassin is actually an American filmmaker forced to flee the U.S. after he was named as a communist before the House Committee on Un-American Activities (HUAC). He never testified, fled to Europe and found trouble making films as Hollywood made it clear no film bearing his name would be distributed in the U.S. However, Rififi couldn’t be stopped.
After finding success in France, becoming the top grossing film of 1955, United Artists eventually released the film through United Motion Picture Organization, refusing to remove Dassin’s name therefore making Rififi the first film to break the Hollywood blacklist.
Today’s directors would do well to take notes when watching Rififi, learning from the way Dassin set up the action and the eventual jewel heist led by Tony le Stéphanois (Jean Servais), a former thief just released from prison and scrounging for a living in backroom poker games. Tony, however, is hardly your typical protagonist. He’s a character that’s easy to hate, especially after he forces and ex-lover to strip naked before he beats her and sends her on her way.
Accomplices behind the heist include Tony’s former colleagues, Jo (Carl Mohner) and Mario (Robert Manuel), both a pair of personalities in their own right. Jo is a family man with a young son, but on top of that Mohner brings something of a linebacker, “don’t mess with this guy” persona while Mario is more of a clown with a rambunctious girlfriend. All three, however, buck the idea of the old adage saying there is no honor among thieves, as the opposite is exactly the theme this film works with.
[amz asin=”B00GBT629C” size=”small”]Unfortunately, despite the history behind the film and the love from many, what’s curious is why Criterion has issued a re-release of Rififi on Blu-ray without any additional features above what was on the previous, 2001 DVD. Included is a 30-minute interview with Dassin, a gallery of stills and a new essay by critic J. Hoberman (read it here). The film, however, remains a title many will want to add to their collection.
Although I wrote it ten years ago and it would likely change today, Rififi would certainly remain one of my top ten heist films if not climb even higher (though I did place it at #3). I would have loved, however, if this new release included a new audio commentary and a 30-minute documentary on Dassin and his journey from blacklisted filmmaker to the man who brought us Rififi. That said, this remains the only film of his I’ve seen with Night and the City, The Naked City and Brute Force being three of his other films I’ve been meaning to see for some time.
Buy it at Amazon.com or [bn url=”http://www.barnesandnoble.com/w/dvd-rififi-jean-servais/3928877?ean=715515111317″ text=”Barnes & Noble”].
