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  1. Touchez pas au grisbi ([tu.ʃe pɑ o ɡʁiz.bi], French for "Don't touch the loot"), released as Honour Among Thieves in the United Kingdom and Grisbi in the United States, is a 1954 French-Italian crime film based on a novel by Albert Simonin.

  2. Touchez pas au grisbi: Directed by Jacques Becker. With Jean Gabin, René Dary, Dora Doll, Vittorio Sanipoli. 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.

    • (8.5K)
    • Crime, Drama
    • Jacques Becker
    • 1960-02
  3. Feb 1, 2004 · Touchez Pas au Grisbi. Roger Ebert February 01, 2004. Tweet. Now streaming on: Powered by JustWatch. Growing older is a balancing act between skills that have never been better, and abilities that sometimes betray. At 50, Max the Liar has never possessed more wisdom about his profession of burglary.

  4. Jan 8, 2020 · Touchez pas au grisbi (1954) - YouTubeWatch the classic French crime film starring Jean Gabin as a veteran gangster who tries to protect his loot and his friends from a rival mob. A masterpiece of ...

    • 97 min
    • 51.7K
    • Bob Saramago
  5. Touchez pas au grisbi est un film français de Jacques Becker, sorti sur les écrans à Paris en mars 1954 . Il s'agit d'une adaptation de Touchez pas au grisbi ! (1953), roman du même nom d' Albert Simonin, premier volet de la trilogie de Max le Menteur, et dont les volumes suivants, également adaptés à l'écran, sont Le cave se rebiffe ...

    • Jacques Becker
    • Jacques BeckerMaurice GriffeAlbert Simonin
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  7. Jacques Becker’s 1954 heist thriller Touchez pas au grisbi was the comeback he needed, and it propelled him into a successful second act, which lasted until his death in 1976. Jean Gabin is at his most wearily romantic as aging gangster Max le Menteur in the Jacques Becker gem Touchez pas au grisbi (Hands Off the Loot!).

  8. Nov 25, 2014 · Becker’s 1954 film Touchez pas au grisbi (1954), often translated into English as “Don’t Touch the Loot”, therefore appears as a loaded artistic statement by an ageing don who died shortly before younger radicals would, in the eyes of many critics and historians, render him obsolete.

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