Stream Touchez Pas au Grisbi - Criterion Collection Online
Jeudi, juin 24th, 2010 |
Stream Touchez Pas au Grisbi - Criterion Collection Online.
Movie Title: Touchez Pas au Grisbi - Criterion Collection Touchez Pas au Grisbi - Criterion Collection is available for streaming or downloading. Click Here to Stream or Download Touchez Pas au Grisbi - Criterion Collection |
If there is one scene that explains the enduring appeal of ‘Touchez Pas Au Grisbi’ (basically ‘don’t touch the loot’), it is this: Max (Jean Gabin at his most Mitchum-esque), an aging hood who has pulled off a massive airport robbery and plans to retire quietly to the country, sits in his apartment one night with his worn friend, the somewhat lunk-headed Riton (Rene Dary) . Riton’s girlfriend (Jeanne Moreau) has left him for a young gangster, Angelo (Lino Ventura in a sensational debut), whom she has informed of the job, and who is trying every means possible to snatch the gold.
So this scene is of crucial generic urgency, with rippling consequences for the development of the status. What Becker films is entirely without urgency or consequence. In complete silence, he follows the middle-aged men as they enter the apartment, sit down, prepare a light supper, eat and talk; Max then gets up, takes out mattresses and pillows for his friend’s bed like a suited chambermaid, undresses in the bathroom, brushes his teeth, Riton likewise; then they both go to bed. This beautifully understated, intimate and domestic scene does not replace the crime genre, but co-exists in paralell with it, showing what is at stake.
This split defines the movie, from the conflict between older and younger characters (and men and women) ; between Max’s affable respectability and his latent sadism; between radiant interiors of oppressive theatrical artifice and sunless outdoor locations; between static scenes where nothing noteworthy happens and jolting bursts of brutal violence and action. You even catch it in the intellectual closing car coast, as thrilling site work intercuts with Hitchcock-style abet projection. This disparity between the genuine and ideal gives the film its melancholic, philosophical heart, and gives the climax an over-powering force, location in the still countryside to which Max wished to retire, and which can only offer backdrop to a bloodbath.
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Critics have found in ‘Grisbi’, a gangster film about loyalty, treachery, collaboration, surveillance, torture, clandestine activities, secret hideouts, rural slaughter and military hardware, some kind of allegory for the Nazi Occupation of France a decade previously. This explanation is radiant because the period had been tacitly removed from the public sphere. But there is nothing so portentously vast in Becker’s characteristically light handling. Max and the gangsters may well have been in the Resistance - Melville has said that underworld methods and contacts were primary to both Resistance and Gestapo - as their knowledge of torture techniques and gun-smuggling suggests. But the Resistance were absolutely crucial to their time and residence, whereas Max and his friends are resolutely out of time, relics from the past who can only play at assimilation - the recurring motif of Max’s harmonica theme suggests a man literally stuck in a groove. Max himself exists in a paralell world to the realities of a 1950s France nowhere to be seen on camouflage, a revenant infernally condemned to recount mistakes and gawk feeble friends die.
Like a radiant wine, TOUCHEZ PAS AU GRISBI has venerable wonderfully. Under the expert and loving hands of the folks at Criterion, we have an absolutely pristine print of this understated and refined French gangster movie. Watching the Criterion DVD is to drop completely into the film, as the restored gloomy and white images are simply attractive.
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This movie is not like today’s heavy-handed violent gangster movies, but a more lovely and sophisticated presentation that focuses on character development and its themes of loyalty, betrayal, and an adherence to a true code. Jean Gabin, who plays the urbane and respected criminal Max, is the soul of this movie, presenting Max as charming, stoic, and ruthless. Expansive detail is given to ordinary tasks, like the serving of a meal, brushing of one’s teeth, etc., but the accomplish, instead of arty, goes to the development of the characters and the portrayal of them as regular folks.
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Lest you have this is a dreary talky narrate, there are moments of explosive violence that will send a chill through you. Suspense is created through the most effective of methods: by what you don’t eye and what is filled in by one’s fill imagination. As the tension mounts in the movie, you will be glued to the mask bewitching the arms of your chair with withering anticipation. They don’t effect ‘em like this anymore, neither here nor in Europe. This movie is a stunning example of both French cinema before the Fresh Wave, and of the gangster genre.
In any language, TOUCHEZ PAS AU GRISBI means film excellence, especially after the careful, painstaking restoration by Criterion Studios.
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