The best thing about the film is the uncanny way M. Max's plans for retirement with the proceeds of the sale of the stolen gold will have to wait. Thus begins a conflict between two different factions of the underground that will end badly. Things get complicated when Josie tells the newly arrived Angelo about what Max and Riton have and the trouble starts as he wants to get to the stolen goods for his own benefit. Max and Riton are seen at the beginning of the film dining at Chez Bouche with two younger women, Josy and Lola, who are chorus girls in the night club that seems to be the venue where these characters like to frequent. At the center of it all is Max, the older gangster who suddenly begins feeling the toll of his years living dangerously and is contemplating retirement after he, and his partner, Riton, get rid of the gold bars they have stolen from a shipment at Orly airport. The film shows us the bygone Paris of that period, beautifully photographed by M. The jazzy score by Jean Wiener works well in the film. Becker and his cinematographer, Pierre Montazel, brought the cameras to the streets as we are taken to savor that underworld they operated from. Becker was an artist that knew what to give his fans, as he clearly shows in this masterful account about the gangsters operating in Paris during the fifties. Jacques Becker 1954 "Touchez pas au grisbi" is a delight to watch.
Title (Brazil): "Grisbi, Ouro Maldito" ("Grisbi, Cursed Gold")
It is also impressive how beautiful and sexy the actresses are.
#Touchez pas au grisbi movie code#
Max is an interesting character and it is delightful to see his reactions and tranquility towards any situation, his code of honor and his face in the end after receiving the phone call with the bad news. The pace is capable to detail a scene like, for example, Max and Riton brushing their teeth without being boring. Will Max exchange his gold for Riton? "Touchez pas au grisbi" is a classy French-Italian production with a great story of honor and friendship. He abducts Riton to force Max to give the gold to him. Riton has made a comment to Josy about the gold and soon Angelo discovers that Max and Riton have the stolen gold. Riton's mistress Josy (Jeanne Moreau) is tired of him and has found a new lover to support her, Angelo (Lino Ventura), who is a dangerous gangster. They have stolen eight gold bars of 12 kg each that worth 50-million francs and Max has kept them hidden for their retirement. The middle age bon-vivant Max (Jean Gabin) is a former gangster and close friend of his partner Riton (René Dary). A very taut yet leisurely script, excellent acting and a dynamite finale-this film is terrific. 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. 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. 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. 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. 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. His contingency plans were brilliant as well and he seemed to have covered every base. Instead of running away or spending the money, he just sat tight and did nothing to tip his hand. Unknown to the other thugs, Max and his friend (Riton) committed a huge heist of 50,000.000 francs in gold a year earlier. However, despite being "on top", he's very tired of the life and longs for retirement. His manners are pretty effortless and he is a big man in the underworld.
It was refreshing to see him playing such an unglamorous role. 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. 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. Sometimes actors never know when to quit-playing youthful roles long after they are obviously too old to realistically carry off the character.
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