Jules Dassin
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The Paris-set “Rififi” still serves as inspiration for just about every modern assemble-the-team caper movie you can name, “Reservoir Dogs” and “Oceans Eleven” included.
Even though its intricate heist scenes have been recycled in countless other films -- most prominently in the '90s crime pics Reservoir Dogs and The Usual Suspects -- Rififi still dazzles.
The Melville picture was remade twice as " Ocean's Eleven ," and echoes of the Dassin can be found from Kubrick's " The Killing " to Tarantino's " Reservoir Dogs ."
The crime is indeed perfect, the underworld equivalent of a sublime French meal, but as ''Rififi'' goes on, it becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
Quentin Tarantino has said that this was one of the films that inspired his Reservoir Dogs (1992) and Pulp Fiction (1994).
Finally, I really did love the actual heist, and while the sequence doesn’t compare to the one in Rififi , there are at least elements of it that do deserve to be mentioned in the same breath as that 1955 classic.
Quentin Tarantino has said that this was one of the films that inspired his Reservoir Dogs (1992) and Pulp Fiction (1994).
At its best, Chandor's film recalls such hard-nosed post-World War II dramas as Jules Dassin's "Thieves' Highway" (trucks, gangsters, trouble), spiced with Lumet's favored brand of New York intrigue.
The Melville picture was remade twice as " Ocean's Eleven ," and echoes of the Dassin can be found from Kubrick's " The Killing " to Tarantino's " Reservoir Dogs ."
Adapted from Auguste Le Breton's pulp novel "Du Rififi Chez Les Hommes" - the word rififi is underworld slang, approximately translating as pitched conflict - it's one of cinema's seminal heist movies, its central robbery sequence influencing the likes of "Mission: Impossible" and "Ocean's Eleven".
And unlike most of the classic robbery movies-Jules Dassin's "Rififi" and "Topkapi" or even the "Topkapi"-influenced sequences of the first "Mission: Impossible" movie -the elaborate thievery around which the movie revolves is not just icing, it's anticlimax.
And unlike most of the classic robbery movies-Jules Dassin's "Rififi" and "Topkapi" or even the "Topkapi"-influenced sequences of the first "Mission: Impossible" movie -the elaborate thievery around which the movie revolves is not just icing, it's anticlimax.
Like Rififi, Thief finds its crooks working in dead silence as they carry out their heists.
Although Thief does not necessarily offer anything new narratively or thematically—it is very much a reworking of the classic heist film and all those heady existential European crime movies like Jules Dassin’s Rififi (1955) and Jean-Pierre Melville’s Le Cercle Rouge (1970) with additional emphasis on the politics of class—Mann shapes the material in a way that makes it feel sharp and innovative.
(In contrast to silent robberies like the famous centerpiece of Rififi, Frank’s methods are a more sophisticated version of a smash-and-grab, with blowtorches and drills carving holes at maximum volume.)
A crew of women teaming up to boldly go where so many male-dominated heist teams, from “Rififi” to “The Italian Job” to the “Ocean’s” films, from “The Asphalt Jungle” to “The Town” to “Logan Lucky,” have gone before?
The great American director Jules Dassin ( Topkapi ; Rififi ) was a genius at putting audiences on the edge of their seats during a heist sequence.
Not even the surprises are quite surprises here, since Ocean’s Eight recycles a formula now very familiar from not only these films but the 1960s legacy that spawned them (cross-reference Topkapi and TV’s Mission: Impossible ) and the modern TV knockoffs ( Leverage , Hustle ).
The great American director Jules Dassin ( Topkapi ; Rififi ) was a genius at putting audiences on the edge of their seats during a heist sequence.
The Last Castle, in other words, is a scene-by-scene retelling of Jules Dassin's classic prison drama Brute Force, except The Last Castle isn't making a worthy statement about resisting the Nazi state.
John Huston’s “The Asphalt Jungle” (1950) was a telling precursor to “Rififi,” but Dassin’s unforgettable centerpiece safecracking sequence — devoid of any music or dialogue — gave birth to a new subgenre of movies, the heist film.
They both owe something to John Huston's "The Asphalt Jungle" (1950), which has the general idea but not the attention to detail.
Sandwiched between two great American heist flicks — John Huston's 1950 The Asphalt Jungle and Stanley Kubrick's 1956 The Killing — French writer-director Jules Dassin's Rififi employs the three-act structure that works well for any film of this nature: the meticulous planning of the robbery, the crime itself, and the aftermath during which things begin to unravel for the crooks involved.
The opening half-hour--the burglary of a jewelry store, filmed in meticulous detail--is as good as its inspiration in The Asphalt Jungle, but the film turns moralistic and sour in the last half, when the thieves fall out.
The Asphalt Jungle (1950) and that Stanley Kubrick would follow in The Killing a year later.
…compares more than favorably with the memorable Hollywood film "The Asphalt Jungle."
The film they watch: Jules Dassin’s classic heist thriller Rififi .
Sandler is walking in the footsteps of other desperate hustlers from movie history, and if he doesn’t have the nervy range of someone like Richard Widmark in “Night and the City,” he brings his own sweaty hostility to the role.
Connie is a close relative of the antihero played by Richard Widmark in the classic 1950 noir Night and the City, an amoral whirlwind who grinds up anybody in his path.
Lock, Stock and Two Smoking Barrels (1998)
Directed by Guy Ritchie
influenced by Night and the City (1950)
Plot
Lurking beneath all the other sources, I suspect, is "Night and the City'' (1950), Jules Dassin's masterful noir, also about crime in the East End, also with a crime kingpin who employs a giant bruiser.
Mom (Blunt) picks up and puts down pill vial after vial with all the deliberate care of one of the silent thieves in Jules Dassin’s great heist film, “Rififi” (1955).
His decision might seem counterintuitive, as the heist movie is classically an opportunity to show off directorial chops—see, for instance, the first half of Bertrand Bonello’s lubricious, machine-tooled Nocturama (2016), which, in turn, invokes the spirit of Jules Dassin’s Rififi (1955).
What the movie delivers for most of its running time is a surprisingly disarming amalgam of “The Incredible Shrinking Man” and “Rififi” by way of Brian De Palma ’s first “Mission Impossible” movie, except with Jules Dassin ’s goofball element thrown back in the mix.
The Melville picture was remade twice as " Ocean's Eleven ," and echoes of the Dassin can be found from Kubrick's " The Killing " to Tarantino's " Reservoir Dogs ."
The crime is indeed perfect, the underworld equivalent of a sublime French meal, but as ''Rififi'' goes on, it becomes as savage as ''Reservoir Dogs,'' ''The Killing,'' or any of the other dozens of films over which it still casts a shadow.
Sandwiched between two great American heist flicks — John Huston's 1950 The Asphalt Jungle and Stanley Kubrick's 1956 The Killing — French writer-director Jules Dassin's Rififi employs the three-act structure that works well for any film of this nature: the meticulous planning of the robbery, the crime itself, and the aftermath during which things begin to unravel for the crooks involved.
The Asphalt Jungle (1950) and that Stanley Kubrick would follow in The Killing a year later.
That carnival atmosphere comes off as a fragrant bouquet of patronizing pap that revels in its sordidness yet feels curiously naïve--"Oz" by a creative team that doesn't appear to know that the bar on prison dramas has been raised since Brute Force.
As said, it is inescapably formulaic, and somewhat simplistic in its idealism, but it's a long way from "Never on Sunday"'s self absorption.