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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
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.
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.
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!).
- Max le Menteur
Summaries. 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. The middle age bon-vivant Max is a former gangster and close friend of his partner Riton.
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 ...
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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.