Touchez pas au grisbi (1954)

Director:

Jacques Becker

Writers:

Albert Simonin (novel) &
Jacques Becker (adaptation) ...
(more)

Release Date:

1960 (USA)

Genre:

Action | Crime | Drama | Film-Noir | Thriller

Plot:

An aging, world-weary gangster is double-crossed and forced out of retirement when his best friend is kidnapped and their stash of eight stolen gold bars demanded as ransom.

Plot Keywords:

Rival | Gold Bar | Gold | Gangster | Retirement

Awards:

1 win

Cast

Jean Gabin	...	Max
René Dary	...	Henri "Riton" Ducros
Dora Doll	...	Lola
Vittorio Sanipoli	...	Ramon
Marilyn Buferd	...	Betty (as Marilyn Bufferd)
Gaby Basset	...	Marinette
Paul Barge	...	Eugène (as Barge)
Alain Bouvette	...	Le chauffeur de taxi (as Bouvette)
Daniel Cauchy	...	Fifi
Denise Clair	...	Madame Bouche
Angelo Dessy	...	Bastien
Lucilla Solivani	...	Nana, la secrétaire de Pierrot
Michel Jourdan	...	Marco
Paul Oettly	...	Oscar
Jean Riveyre	...	Le portier de l'hôtel Moderna
Delia Scala	...	Hughette, la secrétaire d'Oscar
Silvestri
Lino Ventura	...	Angelo Fraiser
Paul Frankeur	...	Pierrot
Jeanne Moreau	...	Josy
rest of cast listed alphabetically:
Charles Bayard	...	M. Dufiond - un danseur (uncredited)
Jean Clarieux	...	Un consommateur chez Bouche (uncredited)
Jean Daurand	...	Un consommateur chez Bouche (uncredited)
Dominique Davray	...	Une prostituée (uncredited)
René Hell	...	Un consommateur chez Bouche (uncredited)
Robert Le Fort	...	Un client (uncredited)

Directed by
Jacques Becker

Writing credits
Albert Simonin		novel &
Jacques Becker		adaptation &
Albert Simonin		adaptation &
Maurice Griffe		adaptation &
Albert Simonin		dialogue

Produced by
Robert Dorfmann	....	producer

Original Music by
Jean Wiener

Cinematography by
Pierre Montazel

Film Editing by
Marguerite Renoir

Production Design by
Jean d'Eaubonne

Set Decoration by
Robert Turlure

Costume Design by
Marcelle Desvignes		(uncredited)

Makeup Department
Jean Lalaurette	....	hair stylist
Jean Paul Ulysse	....	makeup artist (as Jean Ulysse)

Production Management
Pierre Bochart	....	production supervisor
Léon Carré	....	production manager
Georges Charlot	....	unit manager

Second Unit Director or Assistant Director
Jean Becker	....	assistant director
Jean-François Hauduroy	....	assistant director (as J.F. Hauduroy)
Marc Maurette	....	assistant director

Art Department
Jacques Gut	....	assistant production designer

Sound Department
Jacques Carrère	....	sound (as Jacques Carrere)
Jacques Lebreton	....	sound

Camera and Electrical Department
André Dumaître	....	camera operator
Roland Paillais	....	camera operator

Editorial Department
Denise Charvein	....	assistant editor

Music Department
Ernest Guillon	....	conductor
Jerry Mengo	....	orchestra (as Jerry Mengo et son orchestre)
Jean Wetzel	....	musician: harmonica

Other crew
Colette Crochot	....	production secretary

Production Companies

• Del Duca Films
• Antares Produzione Cinematografica

Distributors

• Les Films Corona (1954) (France) (theatrical)
• United Motion Pictures Organization (UMPO) (1959) (USA) (theatrical) (subtitled)
• Valiant Films (1960) (USA) (theatrical) (English dubbed)
• Fox Lorber (1998) (USA) (VHS)
• Schorcht Filmverleih Gmbh (1954) (West Germany) (theatrical)
• Criterion Collection, The (2005) (USA) (DVD)
• Film Office (France) (DVD)
• Rialto Pictures (2003) (USA) (re-release)

Special Effects

• LAX Lab.

Other Companies

• Pianos Pleyel  piano
• Éditions Barclay  music published by
• Éditions Gallimard  novel published by

Also Known As:

Grisbì (Italy)
Grisbi (USA)
Hands Off the Loot

Runtime:

94 min

Country:

France | Italy

Language:

French

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono (Western Electric Sound System)

Certification:

West Germany:18 | Finland:K-16 | Sweden:15 | Argentina:16

Filming Locations:

Billancourt Studios - 50 Quai du Pont-du-Jour, Paris 16, Paris, France

Company:

Del Duca Films

Trivia:

Italian censorship visa #17225 delivered on 19 September 1954.

Quotes:

Max: That's the trouble with young people - they're so doggone young!

Movie Connections:

Referenced in Les tontons flingueurs (1963)

Becker's World View

Like his masterpiece, `Le trou', this film embodies Becker's distinctive vision of the world. We are given a portrait of a bond of love between two men--a kind of love which is beyond anything a man and a woman can know. But this is not Oscar Wilde's `love which dare not speak its name': there is no hint of homoerotic sexuality. Rather, this is the bond of the trenches and the workplace (presumably class and underworld trenches in the case of the protagonists), a theme which has a tremendous atavistic resonance in French culture and history insofar as it reflects a collective male experience extending from the Napoleonic Wars through the Paris Commune down through WWI--the kind of camaraderie for life which predisposed a man to sacrifice all that he holds dear for another man (another instance of this is in Jean Vermillon's `Gueule d'amour'), and hinted at in a sentimental, nuanced way when Max breaks out the foie gras and a bottle of blanc after his buddy has made a costly bonehead move. Note also that incredible sigh of utter lassitude that `Max' (Jean Gabin) heaves as he sits through yet another girly show--or that look on his face as `Betty' asks him if he loves her (after he's slept with her)--a look which tells us his every thought is on his pal, `Riton'. This is not to say that women are portrayed throughout in a disparaging light: "Mme. Bouche", the owner of the restaurant and `Marinette', the nightclub owner's wife (a wonderfully subtle portrait of uxorial solicitude and anxiety) are both characters who reinforce and serve male solidarity. But there's the suggestion that when the male/female bond involves sexuality, a guy can lose his head and forget about his mates.

This male/female divide appears to overshadow class divisions, which were to be at the heart of Becker's `Le trou.' Still we can see Becker's communist sympathies coming through in oblique ways. Max is the engaging, attractive character that he is because of his fierce devotion to others, his liberality of spirit (after he leaves a huge tip to the petit-bourgeois owner of the cafe` in the process of recycling leftover wine, the latter remarks, `We could use more customers like him'), the value he places on his pal's life over the lout, the easy way he has with trusting and receiving the trust of others--all these things are non-commercial values and they suggest a world and way of life alternative to what AMERICA has in store for France. Note, for example, how the camera lingers on the road sign at the scene of the first shootout: `Autoroute a` l'ouest', `Expressway to the west'. It's the same road Max and his pals rush down and that takes them straight to the disaster with the loot. The promise of riches that America (`the West') tantalizingly dangled before the French in the form of the Marshall Plan was not to be taken up without heavy costs. Pauvre Max: in the end he cannot cry at the loss of his buddy (though I cried for him): he cannot express his grief because he is now in the company of "Betty", his American doll and source of support (fittingly played by a real-life Miss America of 1946).

Sure made me feel as though I should have spent more of my life in France.