Watch: Touchez pas au grisbi 1954 123movies, Full Movie Online – The middle age bon-vivant Max is a former gangster and close friend of his partner Riton. They have stolen eight gold bars of 12 kg each that worth 50-million francs and Max has kept them hidden for their retirement. Riton’s mistress Josy is tired of him and has found a new lover to support her, Angelo, who is a dangerous gangster. Riton has made a comment to Josy about the gold and soon Angelo discovers that Max and Riton have the stolen gold. He abducts Riton to force Max to give the gold to him. Will Max exchange his gold for Riton?.
Plot: Gentleman gangster Max and his partner, Riton, pull off their last, most successful heist and find themselves comfortable enough to retire in the style they enjoy. However, Max confides the details of the theft to his younger mistress, Josey — who has secretly taken up with ambitious young rival gangster Angelo. Angelo then has Riton kidnapped and demands the stash of gold as ransom, which threatens Max’s dreams of the perfect retirement.
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influential French film noir
The title of this French film noir is slang for “loot”. Jean Gabin stars as racketeer Max. Seeking out the finer things in life, Max intends to pull one last job and retire. After stealing a fortune in gold, our hero is faced with a crisis of conscience when his best friend (Rene Dary) is kidnapped and held for a huge ransom, the proceeds of this last job. Max manages to turn the tables on the abductors, but his dreams of a life of ease explode in his face. Up-and-coming leading lady Jeanne Moreau plays a pivotal role as the femme fatale who leads Dary into the hands of his kidnappers.
An intriguing film that inverts many of the film noir cliches. The heist which drives the film’s plot has already occurred when the film starts, which has the effect of shifting the film’s focus from the crime itself to the consequences of leading a life of crime. The characters are portrayed less like criminals than businessmen, calmly going about the business of earning a living. As a result, the few scenes of violence that occur are more shocking than they would be in a more routine crime film. An intriguing film that clearly influenced subsequent French crime films, especially Jules Dassin’s “Rififi” and Jean-Pierre Melville’s “Bob le Flambeur”.
A mon age, on ne fait plus sa vie
This is my favorite film.
No way do I think it’s the BEST film (although it would be on my Top 100)
But the older I get, the more GRISBI speaks to me, with its portrait of aging, friendship, subculture…
And it touches me – down deep.
I went back and purchased DVDs of some of the great Gabin films of the ’30s: Pépé le Moko, Le Jour Se Lève, La Bête Humaine. I believe that the more you know how beautiful and feral Gabin was in the ’30s, the more touching it is to see him in his pajamas, brushing his teeth, listening to his favorite harmonica record.
There are millions of “One Last Heist” films if we want to talk about GENRE.
But this film is on a whole other level.
Max/Gabin is exhausted, but this is the only life he knows. He plays the game – flirting, love making, slapping, shooting, escaping…He’s still spry – he can still do it. Sometimes he still even seems to enjoy it.
The film is about what it’s about, but it can also be seen as an analogy for many things. Gabin himself still doing it, not least of all.
We all have to keep doing it when it’s the only life we know.
Another cliché: sex is rushed and provisional, and the real love exists between two men.
But Becker lavishes so much detail and care on the relationship between Max and his friend Riton that the clichés are transcended.
Besides, the relationship between Max and Riton is also based on an inequality. There is a constant assertion of Max’s superiority and dominance over Riton:
“What would you do in my place, Max?”
“I’ll never be in your place, you poor sot!”
Is sex, in fact, no more than just another DUTY, just another part of the construction of the Tough Guy persona for Max? Look at the scene where he has his afternoon assignation with his classy yet sexy American lover:
(she,from the bedroom)
“Vous m’aimez, Max?”
(he,outside the bedroom,thinks of Riton,lights a cigarette)
(he walks back in)
The economy. The derision.
The film ends with the kind of fatalistic trope that I, rightly or wrongly, associate with The Treasure of the Sierra Madre. At least I guess that was the first place where I really encountered it. Everything is risked. Everything is lost.
It has been done. Before and since. But none of that changes the poignancy and power of the way that it’s done here.
In the end, in order to keep going in spite of all sorts of losses, Max must continue to perform. All of his roles. A virtuoso performance, in the end as in the beginning.
He goes to the mob hangout restaurant with the American babe, he mingles,he plays his favorite harmonica tune on the jukebox one more time.
La Vie Continue
A virtuoso performance by Max AND by Gabin. And by Jacques Becker.
Original Language fr
Runtime 1 hr 34 min (94 min), 1 hr 23 min (83 min) (USA)
Rated Not Rated
Genre Crime, Drama
Director Jacques Becker
Writer Albert Simonin, Jacques Becker, Maurice Griffe
Actors Jean Gabin, René Dary, Dora Doll
Country Italy, France
Awards 1 win & 1 nomination
Production Company N/A
Sound Mix Mono (Western Electric Sound System)
Aspect Ratio 1.37 : 1
Laboratory Laboratoires Franay Tirages Cinematographiques (LTC), Paris, France
Film Length 2,600 m
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format Digital (Digital Cinema Package DCP), 35 mm