Other Titles • Rififi (1955) • Brawl Among the Men
Trivia from Rififi (1955)
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IN THEATRES: JULY 21, 2000 (NY)
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RIFIFI was released in France on April 13, 1955 and in the USA on July 21, 1956. The movie was re-released in France on July 13, 1999, and in the USA on July 21, 2000.
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RIFIFI was shot on location in Paris and St. Remy-les-Chevreuses, France.
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Jules Dassin was awarded the 1955 Best Director Prize at Cannes for RIFIFI.
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Francois Truffaut called RIFIFI, "The best film noir I've ever seen. A marvel of skill and inventiveness."
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RIFIFI was banned in 1955 in some countries for its depiction of drug use (cocaine), gun violence, and nudity.
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In the book by Auguste le Breton, DU RiFIFI CHEZ LES HOMMES, from which Dassin adapted the screenplay, the violence was much worse than in the movie. Dassin said it was racist towards Arabs and North Africans--in the movie he changed the names of the rival gangsters to sound more German (Grutter)--and the crimes committed in the book included necrophilia.
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Another reason the film was banned is because of the detailed 30-minute bank break-in, which includes neither music nor dialogue was considered to be a blueprint for professional crimes--almost like a guide to "how to commit the perfect robbery."
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The subtitling on the reprint, by Lenny Borger and Bruce Goldstein, is said to capture a truer version of the French "argot" (slang.)
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RIFIFI marked a comeback for Dassin, who had been blacklisted as a Hollywood filmmaker and blocked from directing jobs because in 1952 he was named a Communist in McCarthyist America.
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Magali Noel, whose sexy performance of the cabaret song and dance "Rififi" is one of the most infamous scenes in the movie, starred in Fellini's AMARCORD almost twenty years later in 1974.
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Director Jules Dassin made NIGHT AND THE CITY in London in 1950. After being named in the House Un-American Activities Committee (HUAC) hearings, he was blacklisted by Hollywood and was in exile, unable to make another film for 5 years.
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When Dassin returned to filmmaking it was in France with RIFIFI, and it was a triumph--the movie won him the prize for best direction at the Cannes film festival in 1955.
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RIFIFI's director of photography, Philippe Agostini, was one of the masters of monochrome. The notable movies for which he provided glistening black-and-white images include Marcel Carne's LE JOUR SE LÈVE (1939), Claude Autant-Lara's SYLVIE ET LE FANTÔME (1945), Jean Grémillon’ PATTES BLANCHES (1949), Max Ophuls’s LE PLAISIR (1952), and Robert Bresson’s remarkable first two movies LES ANGES DU PÉCHÉ (1943) and LES DAMES DE BOIS DU BOULOGNE (1945).
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Alexandre Trauner, the art director for RIFIFI, was one the greatest art directors in film history. Trauner was born in Budapest, Hungary in 1906 and died in Normandy France in 1933. In addition to working with Jules Dassin, he worked with many great directors, both in France and Hollywood, including Bertrand Tavernier, Claude Berri, Fred Zinnemann, Howard Hawks, Jean Grémillon, John Huston, Joseph Losey, Luc Besson, Orson Welles, Robert Siodmak, and William Wyler. But, Trauner's longest collaborations were with Marcel Carne and Billy Wilder. He was art director or production designer on 9 movies directed by Carne including QUAI DES BRUMES (1938), LE JOUR SE LÈVE (1939), and CHILDREN OF PARADISE (1945), on which he had to work clandestinely while in hiding during the Nazi occupation of France. And Trauner worked with Wilder 8 times--his was the huge office set in THE APPARTMENT (1960), for which he won an Oscar. An exhibition of Trauner's work, "ALEXANDRE TRAUNER: 50 YEARS OF CINEMA," has been traveling around the world's art museums since 1986.
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