Touchez pas au grisbi

Well-done French crime film. Very believable set of criminals. I particularly like the fellow who looks like a math professor who's good with a submachinegun

1950s France must have been overwhelmingly decorous: full of cigarette smoke, three-piece-suits, champagne for lunch, and some of the slickest, most polite gangsters ever. After a night on the lam they retire with striped pajamas, after sex, their makeup and hair are still perfect, after torture, the victim will help you carry your loot. It was probably in black and white too. I certainly hope so. Becker and Gabin certainly make this one of the most attractive gangster films ever.

Jean Gabin is terrific as a world-weary gangster in this crisp and flawless crime thriller from master director Jacques Becker. I'd probably find a spot for it on a list of my 10 favorite film noirs of all time.

The film is quick to establish the mood, but it takes a little time before the central relationships of the film sort themselves out. From there on it's a tightly scripted ride along with Gabin's inner turmoil. Pretty much everything about the film is great, particularly Gabin's performance. If I have one complaint it's that the film feels safe in its greatness, unwilling to take the thematic or narrative risks to make it an all time great.

Oozes with badassery and style that it's almost impossible not to love.

Very believable though sluggish noir, with an excellent set of relatable criminals and Jean Gabin delivers as Max, who I think is one of the most admirable film characters ever made.

I prefer the film it influenced, Bob le flambeur, but this is still an excellent French noir. Becker achieves a grace and elegance unsurpassed in the crime genre, and Jean Gabin fully embodies his weary gangster character. Charming and humanistic.

Wonderful character study of a gangster flick. It's elegant and moves along at a very relaxed pace. You can't help but like Jean Gabin's Max, who's cool-headed and always seems to know what to do.

Jacques Becker's adaptation of Albert Simonin's novel feels like the inspiration for every Jean-Pierre Melville film to follow. It's extremely deliberately paced and very stylish ... a parade of well-dressed, quiet tough guys doing things in meticulous detail. It's pretty damn wonderful.

Jacques Becker’s deft crime thriller is efficiently paced and intelligently plotted, building to its fiery conclusion with exceptional style, though its greatest asset is its protagonist; French cinema has never produced a cooler customer than ageing gangster Max, whose incomparable blend of grace, tact, refinery and integrity is effortlessly captured by the legendary Jean Gabin.

Very solid, economical and taut crime thriller. Very well made with nothing really counting against it other than that it's a bit straightforward. Beautifully photographed with realistic characters. Nothing really distinguishing it, but it's good and a solid way to spend an hour and a half.

Touchez Pas au Remote to Change le Channel

Pretty bored by this. It's like they showed you all the unexciting parts of a heist that usually get skipped over. Who needs to see the fence calculating conversion rates? Final car chase not bad though.

Suave proto-noir with Gabin's Max as an about-to-retire gangster trying to tie up some loose ends at the end of a fruitful career in the glamorous 1950s French criminal underworld until an up-and-comer muscles in. Although there's some decent action, you never once believe Max would ever be in danger, much less get his suit dirty. Tends to focus more on characters over the actual heist, which is nice for a change, even though the first part of the movie goes a little slow to set it up.

Que baita filme bonito e elegante, pena eu conhecer tão pouco do Jacques Becker, a forma como ele usa o crime como macguffin para verdadeiramente fazer um filme melancólico sobre amizade e envelhecimento é brilhante. Box Versátil Filme Noir Francês.

Everything works pretty well with this French noir. Jean Gabin is great and the film beautifully lit.

Quite confusing from the beginning but a great crime film with Gabin in the lead.

Enjoyable gangster noir. I really dug the cool, jazzy mood and how Jean Gabin portrays a sense of weariness and reluctance to continue in this lifestyle.

One of Becker's lesser films. Still, worth watching if you're into him or the genre; and it was quite atmospheric and stylish as you'd expect. While hard to get into at first, it got better as it went along, with very memorable final scenes. In the end, however, I can only care so much about drug-running, backstabbing mafia lowlife and their slutty girlfriends.

By far and away the quintessential film noir of all time, though it's close.

An interesting, not too predictable crime drama, with good mood. Grisbi starts off where heist movies tend to end - after the protagonists got away with the loot. Gabin's amicable robber and Lino Ventura in the smaller villainous role unsurprisingly stand out.

What a presence Gabin is in this one. Utterly magnifying.

Great gangster film, with an excellent prestation of Jean Gabin, in a role who will reboost his career, and the first role of Lino Ventura.

Cracking French gangster noir.

I love this film. It is what showed me the awesomeness of French Film Noir.

The definitive man's movie.

A bit sedate--and sluggish.

An excellent gangster noir, and Jean Gabin really shines as the weary lead character.