By Alastair Phillips
Du rififi chez les hommes (1955), directed via the exiled American movie director Jules Dassin, recounts the nail-biting story of a Parisian gangster heist long past incorrect. Famed for its prolonged discussion loose theft series, it really is either a vintage French movie noir and one of many maximum, such a lot influential crime movies. during this vigorous spouse to the movie, Alastair Phillips finds Dassin’s position as a director of socially wakeful Hollywood movie noir and argues that his seminal contribution to the regeneration of the mystery in submit conflict France as a result uniquely advanced family members among French style cinema and American mass culture.
Phillips additionally examines the film's cutting edge narrative building and use of sound, its functionality variety and mise-en-scène, and discusses the film's legacy, displaying how even this day, the time period "Rififi" continues to be a byword for either felony glamor and the long-lasting virtues of French well known classical filmmaking.
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Extra info for Rififi (Cine-File French Film Guides)
Ibid. It is also worth noting that the remuneration Le Breton received was almost on a par with Dassin’s. 1 million francs in author’s rights. These figures compare with the amount of six million francs received by the film’s director. See Production File CN 0658 B450. Revel, Renaud, ‘Le “Rififi” Trente Ans Après’, Le Matin, 17 July 1984, page unknown. La Cinématographie Française, no. 1594, 27 November 1954, page unknown. html (accessed 30 December 2006). Production File CN 0658 B450. Both Jean Servais and Carl Möhner would work again with Dassin on Celui qui doit mourir (1957), again produced by Henri Bérard.
Horace McRoy’s No Pockets in a Shroud was adapted as Un Linceul n’a pas de poches (Jean-Pierre Mocky, 1974). The poet, novelist, trumpeter, screenwriter and actor, Boris Vian, was a renowned figure in postwar Left Bank Parisian culture. Although he never actually visited the United States, his work was permeated with an awareness of the central place that popular American culture occupied in the cultural imagination of his French metropolitan audience. When it was originally published in 1947, Vian initially claimed that J’irai cracher sur vos tombes (I Spit on Your Graves) was only the French translation by him of an original American source novel written by Vernon Sullivan.
After receiving the tempting call from Henri Bérard, he spoke with a French agent friend of his, Claude Briac, asking him to come over and help him to translate the novel. The book’s impenetrable slang was too daunting and the American needed a native hand to help digest the material. When THE ROUTE TO RIFIFI 21 Dassin discovered the embedded racism of the book’s representation of criminality, not to mention the extreme violence of aspects of its narrative, he despaired before eventually relenting, realizing that commercial imperatives had to override ethical concerns.