Ogosmith Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Jerrie It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Aspen Orson There is definitely an excellent idea hidden in the background of the film. Unfortunately, it's difficult to find it.

classicsoncall Immediately following this film, I watched one of the trailers on the DVD, and in it, The New York Mirror proclaimed that this picture had "enough raw sex to elevate every eyebrow"! Really? Where was that? If that was used as a hook for the movie back in the day, then a great disservice was done to the movie going public.As far as heist films go, I thought the caper was pulled off rather easily, maybe even too easily with not a hitch during the process. However I never even realized that the thirty minute or so sequence during the robbery was done without anyone speaking. I guess that's the mark of a competent director, to get the viewer so absorbed in an extended scene that time becomes a non-factor. Very well done.So basically, after the heist was pulled off, you had two rival gangs going at it to secure the gems involved in the safe-crack. With major mistakes committed by the Stephanois' bunch (Cesar giving his gal a ring, then ratting on Mario), I began rooting for Tony as soon as coke-head Remi (Robert Hossein) grabbed the kid. The back and forth tension between the thug groups added a different dimension to the film than it would have had if it was just a caper movie.Aside from no one benefiting from the jewel heist, I was baffled by the close of the story when Tony collapsed and crashed the car he was driving with the rescued kid in it. With the local gendarme on the scene, Tony's ex, Mado (Marie Sabouret) comes along and just takes the child away from the scene. What? And then it ends. What? It could be I'm missing something, but the accolades accorded the film seem out-sized to the resulting effort. I'd still recommend it, but watching the film with a critical eye reveals enough flaws to temper the acclaim.

Shawn Watson A group of professionals with their own unique skill sets assemble in Paris to pull of a big heist only for the plan to fall apart when one of them betrays the team for their own selfish desires. Sound familiar? It should, it is a LOT like Ronin. I have no doubt that Frankenheimer and Mamet took a lot of inspiration from this movie 43 years down the line. I think I even recognized some of the locations.62 years is a life time in Metropolitan terms, and the Paris you see in Rififi is far, far removed from the litter-strewn, graffiti covered, overcrowded dump of a city that exists today. For this alone it is worth a watch but the slow burn of the group coming together, meticulously planning their heist, and the 32-minute silence of the heist itself is extremely suspenseful stuff. It loses a little in the final act though, which I do believe could have been about 8 minutes tighter.Jules Dassin made Rififi after being exiled from the US and blacklisted as a Communist (they were not ALL "good old days") and the movie is as masterfully executed as the heist it portrays, which is kind of odd as Dassin's own character in the movie is the reason why it goes sour. The moody black and white photography, real world streets, noir atmosphere make the film a classic in its own right. It's just a shame that not many people would give a chance due to being subtitled.

elvircorhodzic RIFIFI is an intelligent and brutal thriller. The main protagonist is an old gangster who, after leaving the prison, at the urging of friends, decided to rob a jewelry store. Robbery is quite complicated, but a team of four men is ready. The robbery was carried out successfully. But his team, after the fatal error of one member, becomes the target of a rival gang ...This is one of the few films in which the script, scenery, dialogues, music, characterization and acting are almost perfectly aligned. It's an amazing blend of a cold-blooded crime and human sincerity. I must admit that some scenes, despite the undeniable quality, are too brutal. In this sense, this thriller has overshadowed some of Hollywood thrillers of fifties, which openly emphasized the brutality and explicitness. The story is somewhat predictable, but the human factor is secretive and mysterious. The mere robbery is brilliantly designed. Mr. Dassin created the poetry of motion without human speech. The robbery takes a long time and was carried out in a great atmosphere in which the tension can be cut with a knife. Of course, the knife sometimes "wanders", so any sudden movement or movement of an object is reminiscent of a human scream. I've enjoyed.The main protagonists are sincere and sympathetic (in a strange way). A rival gang is the embodiment of a crime which involves prostitution and drugs. Their performance is menacing and brutal, which is positively affected on the atmosphere of the film.Jean Servais as Tony "le Stéphanois" is the brains of the gang, a stubborn and an experienced criminal, who apparently can edit everything except his own life. Carl Möhner as Jo "le Suédois" is Tony's younger disciple. A handsome strongman who has a wife and a son. He is the protagonist who will have to choose between so desired prey and his own blood. Robert Manuel as Mario Ferrati is amiable Italian who carelessly enjoys with his beauty. The protagonist, who brings serenity in a thriller atmosphere. Jules Dassin as César "le Milanais", is the „director". There is no safe that he could not open. He is a little rascal whose weakness is women.I claim that this movie is one of the best French thrillers of all time.

BobbyT24 I won't be able to add anything that hasn't already been reviewed on this site about this fabulous French movie. It's simply one-of-a-kind genius. On the cutting-edge level of "Citizen Kane", "The Godfather", and "Toy Story" as those once-in-a-generation genre-changers that every movie following wants to copy but never realizes the magic of the first time. When a movie is BANNED in countries around the globe (not censored but actually blocked from import) not because of violence or nudity, but because it is being used as a blueprint for real crime... One word: W-O-W.The movie was filmed in the mid-1950s as gangster noire so the setting is perfectly gritty and distinctly Parisian of the era. When we aren't seeing the setup for the heist or the heist itself, the story drags at times and has a touch of overacting. However, all of that is forgiven for the monumental originality in the hands of a master director. It's a shame he was blacklisted in America. What a waste of true talent. I'm thankful the French saw the genius behind the lens.This is one I've added to my collection on a recommendation from an article recently. I am soooo happy I bought it. It's also a movie I have loaned out since my first viewing simply because I want to show friends how a historically awesome film sequence can not only be seen and enjoyed, but marvel at the stunning visuals playing out before their eyes. This movie is a feast for the eyes, ears and soul. I loved this movie and cannot rank it higher than 10. Please watch the heist sequence. You've never seen anything like it and never will again. 11 out of 10.