A movie log formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Monday, April 18, 2016

Rififi (Jules Dassin, 1955)

The success of Rififi had a lasting effect on the "caper" or "heist" genre, which is still with us in one form or another, including the Mission: Impossible movies. Dassin's 30-minute sequence depicting the break-in and safe-cracking was hailed as a tour de force. I can't help wondering if Robert Bresson saw Rififi before he made his great 1956 film A Man Escaped, which takes a similar wordless and music-free approach to showing the preparations for Fontaine's prison break. Other than that, of course, nothing could be further from Fontaine's noble efforts to find freedom than the larcenous thuggery of Dassin's jewel thieves. Dassin knows, of course, that audiences respond positively to cleverness and skill, which is virtually all that his quartet of thieves have going for them. Tony (Jean Servais) is a brutal ex-con who beats his former mistress (Marie Sabouret) with a belt; Jo (Carl Möhner) is a swaggering, handsome guy for whom Tony took the rap for an earlier heist because Jo has a wife and child; Mario (Robert Manuel) is an easy-going ne'er-do-well; and César (Dassin under the pseudonym Perlo Vita) is a professional safe-cracker. Dassin manipulates us into thinking of these guys as heroes, if only because the gang led by Pierre Grutter (Marcel Lupovici), who wants to muscle in on their ill-gotten gains, is even worse. In the end, both sides are wiped out, but not before Jo's little boy (Dominique Maurin) is kidnapped and held for ransom. The final sequence of the film is particularly harrowing, especially to contemporary viewers used to mandated seatbelts and conscientious childproofing: A dying Tony drives the 5-year-old boy across Paris in an open convertible as the delighted kid stands on and even clambers over the seats of the speeding car. For all its unpleasantness, Rififi is as memorable as it was influential. It led to countless imitations, usually more light-hearted, including Dassin's own Topkapi (1964). It also revived Dassin's career, which had been at a standstill after he was blacklisted in Hollywood; Rififi's international success was a defiant nose-thumbing directed at HUAC's witch hunts.

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