WasAnnon Slow pace in the most part of the movie.

Platicsco Good story, Not enough for a whole film

Huievest Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Abegail Noëlle While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

evileyereviews This masterpiece of French noir exemplifies the depth of friendship and honor between thieves in this classic. The protagonist and his partner could not be more different, but through the years they have developed a friendship beyond mere love, a friendship cemented in the trenches of criminal warfare and not to be trifled with. The plot's treachery is utilized to effect as the polar opposite of this eternal bond, a bond which is best elucidated with some of the more mundane aspects of life. This bond is also compared with the superficial love between the sexes, where men love their woman only during the act of love. The acting was sublime, with heavies Jean Gabin, Lino Ventura, as well as some mightily proportioned women to grace the eyes. The direction and camera work were wonderful, and the score was the perfect compliment to the darker side of life. Genruk' Evil Eye Reviews

MartinHafer Sometimes actors never know when to quit--playing youthful roles long after they are obviously too old to realistically carry off the character. However, in a brave move, actor Jean Gabin plays a role of an older man who is simply tired and ready to call it quits on his life of crime. Gabin was 50 years-old when he made this film and, if anything, looks a good bit older than that--looking more like a man of 60. It was refreshing to see him playing such an unglamorous role.Max (Gabin) is a very cool guy. His manners are pretty effortless and he is a big man in the underworld. However, despite being "on top", he's very tired of the life and longs for retirement. Unknown to the other thugs, Max and his friend (Riton) committed a huge heist of 50,000.000 francs in gold a year earlier. That's because Max is smart--real smart. Instead of running away or spending the money, he just sat tight and did nothing to tip his hand. His contingency plans were brilliant as well and he seemed to have covered every base. Too bad that Riton wasn't quite as smart, as a "dame" weaseled this secret out of him and told another crook--who now is determined to get the gold. When Riton is captured, what will Max do? Will he leave his old friend or will he give up the gold to ransom Riton? And, even if he does surrender the loot, what then?! The film did a great job creating a Film Noir ambiance that is uniquely French. In the 50s, the French began imitating American Noir but often they made it uniquely their own--with grittier dialog (with much spicier language), a bit of nudity and a sharper edge. Aside from TOUCHEZ PAS AU GRISBI ("Don't Touch the Loot"), other such French films as BOB LE FLAMBEUR ("Bob the Gambler") and RIFIFI proved that in some ways, even, the French could do Noir better--achieving a certain realistic sleaziness that American censors wouldn't allow. For example, when Bob grabs a showgirl's breast backstage, you know this sure ain't a Hollywood film of the 50s! Overall, there's nothing not to like about the film. A very taut yet leisurely script, excellent acting and a dynamite finale--this film is terrific.

Prof-Hieronymos-Grost Max(Jean Gabin) is a gentleman gangster with a penchant for nice suits and champagne and the brains of the criminal partnership, the other being his long time friend and partner in crime, Riton (René Dary),"the muscle" so to speak of their partnership, together they have just pulled off a substantial heist and are now 50 million francs better off in gold bars. Max likes the easy life of night clubs and restaurants, he isn't greedy and now intends to retire with his fortune, Riton agrees, but he inadvertently tells his young night club dancer girlfriend Josy (Jeanne Moreau)of his large stash of Grisbi(Loot/Swag), she has been two timing him with the much younger and very ambitious crook Angelo, Josy of course informs him and using this knowledge Angelo sets out to take it from Max. Max suspicious that he is being followed confides in Riton that something is about to happen,he also tells his old friend how he discovered Josy's infidelity, Riton is furious and leaves Max's safe haven to take revenge on his younger adversary.Riton ends up in a trap and is kidnapped by Angelo, demanding Max release the gold as ransom. Touchez pas au grisbi isn't so much an action crime flic as it is a no action one, we never get to see the heist or the every day violence of the criminal fraternity, Becker's film is much more about the silences between the crimes and the everyday mundaneness of the criminals life, their conversations, their dining habits etc… this ploy is all the more effective when the film explodes at its climax with the type of violence you would expect of a typical Crime film. A forerunner of Dassin's Rififi or more obviously Melville's Bob Le Flambeur, Touchez pas au Grisbi is a fine film that some might find a little dull, but its romantic vision of Parisien criminal lives is still very intriguing and a welcome alternative to the stereotypical hoods of the genre. Gabin is nothing short of superb as the aging gangster, willing to give up his position and power for the easy life, his relationship with his loyal friend Riton is more like that of a married couple who are still friends after many years together but ultimately wonder why they ever got together, we are only given one glimpse of Max's rage towards his friend in a brief voice over, where Max lets fly at his companions stupidity, that might cost them both their lives and their Grisbi, other than that Max is a cool operator, nothing fazes him, even as the plot thickens and a quick response is required to save Riton's life, Max is just as easy going as he always is, he might just as easily be at home brushing his teeth or folding his pyjamas again, we never quite know what Max is thinking. The understated pate eating scene is superbly orchestrated by Becker ,there is hardly any dialogue but through gestures and eye movements, we learn an awful lot about their relationship…..Touchez pas au Grisbi in the hands of Becker is both elegant and evocative and a pleasure to behold and as French Noir goes its right up there with the best.

animala The movie is a story of friendship that lasts.Max (Jean Gabin)is an ageing gangster, and indeed from early on the weighty and slowing down feeling of age is a daily preoccupation for Max. The opening scene is a view of the day's newspaper announcing that 50 million in gold bullion is still missing. Clearly Max has something to do with it.Max and his best pal, the similarly ageing Riton have young girlfriends who evidently engage in prostitution and drugs. In the opening scene Max is holding court at a local restaurant which is apparently closed to outsiders. max is clearly the man of influence, the man with the money. the "godfather" in his small fiefdom. Much of the set up of the entire story is allowing the viewer to see the day to day world of gangster middle management. The ordinary things that Max and co. do is really unique including discussing food, body functions and relationships personal and professional.Something is not all well at the "office". WHile Max and Riton are clearly honorable amongst their own, this is not practiced by all in their sphere as it is clear for some reason armed men associated with the club they frequent are trying to trap them. And as we find out, all know the "loot" is missing and Max is likely to have it, and many will do questionable and murderous things to try to get the info on its whereabouts.Look for Jeanne Moreau as the heartless and duplicitous Josy--she's fantastic.A non-pretentious look at the gangster world with some unexpected and somewhat shocking scenes of violence.Some hilarious translation in the Criterion subtitles like "Those babes are a real health hazard" and "you expect thanks for causing a flap in my hen house".Becker outdid himself in this film--every person in the movie was significant, all direction perfect.