There's nothing exceptionally profound about the story to "Touchez pas au grisbi", one of Jacques Becker's later films -- but it sets up tons of film archetypes and patterns that later French Noir would emulate. Jean Gabin plays Max, an aging criminal set to retire with his friend, Ritan, when they're pushed into a state of paranoia by younger gangsters moving in on their retirement loot (their "grisbi").
The film is not overtly flashy, but Max is one bad dude, expressed by the way he commands universal respect from his peers, patrons and the younger ladies who surround him. In fact, his musky appeal is hilarious in contrast with his romantically bumbling partner, as is the way he overtly womanizes (notice that none of the women in this film are wearing a bra!).
There are only a handful of sets to the film, and a few outdoor scenes. The action happens suddenly and violently, which makes it much more jarring, and the themes of brotherly loyalty are expressed as both frustrating and endearing bonds, but with more nuanced definition than you might expect from such a straight-forward film. And to boot, there are some recognizable classic talents in this film, including Lino Ventura and Jeanne Moreau.
While not explosive and over-the-top, the story, set-up and exposition of the gangster code are all the result of top-notch cinematic craftsmanship. The music is minimalist, the camera-work is easy on the eyes, and the characters are fun to watch. Half-goofily endearing and half-starkly serious, but mostly brilliant, Touchez pas au grisbi is a lot of fun.
The film is not overtly flashy, but Max is one bad dude, expressed by the way he commands universal respect from his peers, patrons and the younger ladies who surround him. In fact, his musky appeal is hilarious in contrast with his romantically bumbling partner, as is the way he overtly womanizes (notice that none of the women in this film are wearing a bra!).
There are only a handful of sets to the film, and a few outdoor scenes. The action happens suddenly and violently, which makes it much more jarring, and the themes of brotherly loyalty are expressed as both frustrating and endearing bonds, but with more nuanced definition than you might expect from such a straight-forward film. And to boot, there are some recognizable classic talents in this film, including Lino Ventura and Jeanne Moreau.
While not explosive and over-the-top, the story, set-up and exposition of the gangster code are all the result of top-notch cinematic craftsmanship. The music is minimalist, the camera-work is easy on the eyes, and the characters are fun to watch. Half-goofily endearing and half-starkly serious, but mostly brilliant, Touchez pas au grisbi is a lot of fun.