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Credits
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Summary
Max
and Riton are two ageing gangsters who manage to pull of their final heist,
a spectacular gold bullion robbery at Orly airport. All is well until
Max’s former girlfriend Josy tips of a rival gangster, Angelo. The
latter kidnaps Riton and threatens to kill him unless Max hands over the
spoils from his robbery....Review
Although
not quite in the league of Jacques Becker’s best films, Touchez pas
au grisbi occupies an important placing in French cinema history.
Firstly, it firmly re-established Jean Gabin as a leading figure in French
cinema after his temporary decline into near-obscurity during the 1940s.
More significantly, it established the crime thriller as a major genre
in French cinema, creating a template which would be followed in dozens
of other films in the following decade.
The genre derived from the film noir of 1940s American cinema, epitomised by such films as the Maltese Falcon. Many French film directors of the 1950s and 1960s (including some of the very best, most notably Jean-Pierre Melville and François Truffaut) were almost obsessed by the genre and sought to re-invent the formula in their films. The result was the film policier or polar, a sophisticated European transposition of the tough gangster thriller. It is interesting to note how many subsequent French films refer back to Becker’s Touchez pas au grisbi. The perfect spectacular robbery which goes unexpectedly awry, often through the betrayal of a female character. The ensuing battle of wills between rival gun-toting factions. And the inevitable shoot-out. The formula may appear trite by today’s standards but it was remarkably popular at the time and a surprising number of these films have gone on to be regarded as genine classics. What particularly marks out Touchez pas au grisbi as a great film in its own right is the formidable presence of Jean Gabin, who plays the indominatable gangster, Max. This is the kind of role with which Gabin would become most associated with after World War II: the unfaltering, confident, often taciturn anti-hero, the Godfather of French cinema. This is a total contast to the beau tragic hero which made Gabin a household name in France in the 1930s. This film also features Lino Ventura, a former wrestler who would become a popular actor best known for his tough gangster roles, and a young Jeanne Moreau, destined to become one of France's best known actresses. With all these ingredients, Jacques Becker could hardly fail to make a great film. The subject matter is pure B movie material, but Becker brings an artistry and flair which makes the film appear years ahead of its time. © James Travers 2001 |
 
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