In 1955, French critics Raymond Borde and Étienne Chaumeton offered the earliest book-length exploration of what a “serié noir” or “dark series” of films in Panorama du Film Noir Américain. They used Nino Frank’s concept of “dark film” (film noir) to elucidate the traits of a “new type” of American film to which the French public was exposed in 1946. These films shared “a strange and violent tone, tinged with a unique kind of eroticism” and included The Maltese Falcon, Laura, Murder, My Sweet, Double Indemnity, and The Woman in the Window. Whether what we call such films part of a series, a style, a genre, or some combination of the three, we have the French to thank for the term “film noir” and its “unmistakable character” (Borde and Chaumeton).
This background helps to contextualize the film I explore in this post, Touchez pas au grisbi (meaning “Don’t touch my loot” and released as Grisbi in the US), my contribution to Serendipitous Anachronism’s France on Film blogathon.
Released a year before Borde and Chaumeton’s book, Grisbi is the tale of an aging mob boss who simply wants to enjoy his later years in peace. The protagonist, Max, is played by Jean Gabin, whom the #BNoirDetour gang may remember as the lead in 1942’s Moontide opposite a young Ida Lupino. Gabin had fallen from fame in the years after WWII, and Grisbi returned him to success. The film is in many ways a study in character and mood, and Gabin holds the viewer’s attention with practiced ease. The Criterion Collection synopsis describes Gabin’s performance “wearily romantic,” and so it is. Despite or perhaps because of his ruthlessness, cynicism, and a sexism that includes his taking for granted three lovers, we cannot look away from this aging antihero.
Dialogue has little to do with his attraction, for director Jacques Becker is not interested in gangster lingo and wisecracks. Moreover, the film does not rest on its action either. As critic Geoffrey O’Brien opines, “Becker’s genius in Touchez pas au grisbi is to focus resolutely on what comes before or after or falls in between the decisive actions […].” For this reason, Grisbi is most effectively defined as a film of style not content. Between this and its focus on the perspective of a criminal, I conclude that it may be a “crime film,” but it is also a film noir.
[Spoilers ahead] The plot, such as it is, concerns Max’s desire to liquidate his latest haul, which has been turned into gold bricks, so he can retire happily. His closest and perhaps only friend, Riton (René Dary), makes this difficult, for he tells his two-timing young lover Josy (Jeanne Moreau) about the gold and she immediately tells her secret paramour, rival gangster Angelo (Lino Ventura). The rest of the film involves growing tension, crosses, and double-crosses. Multiple characters are killed by gunfire or tossed grenades, and the gold must be abandoned in Angelo’s exploding car. Max ends the film without the gold, without the foolish and now dead Riton, back in the café in which the mobsters hang out, where the film began. He is now showing off his formerly secret American girlfriend, but all else is the same.
I love this film for Gabin’s performance, for its elegant cinematography and mise en scène (from settings to costuming), and for its focus on the “in between.” In keeping with this emphasis, music also plays a strong role in the film. Max has a favorite (harmonica) tune, which plays both on a jukebox and also during his internal monologues. Although danger and violence lurk throughout the 94-minute running time, little actually transpires. A torture scene ends before any real harm is done, and what we see during the climactic confrontation among rival gangs is more ritualistic than graphic. Far more interesting is the attention paid to small moments, character interactions, and daily life. So, it is not surprising that the film ends where it began, in Max’s café, with his tune playing on the Wurlitzer. Just another day for our weary kingpin.
January 8, 2016 at 12:03 AM
This film sounds absolutely wonderful, I love how the director focuses on the in-between. The concept of film noir without the catchy dialogue is intriguing. I also love how this film implies, rather than shows its action, and the circular nature ending with the music that you mentioned sounds perfect. Thank you for such an unusual installment (at least in my noir experience) to the film noir genre and an engaging post!
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January 8, 2016 at 12:06 AM
Thanks so much for your praise, and I hope you get to see the film (I streamed it on Amazon Prime). It is a gem, though don’t look for any sympathetic characters!
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January 8, 2016 at 2:51 PM
It’s been quite a while since I’ve watched Grisbi, but that car chase and explosion still stands out in my mind. Thanks!
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January 8, 2016 at 9:50 PM
Interesting! It’s the action scene in the film, so that makes sense. What I remember most are all the lingering face shots of Jean Gabin.
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January 8, 2016 at 5:12 PM
This sounds like a fascinating film, especially in the way it hints at things rather than showing full details. I don’t think I’ve ever seen a film quite like this, so it goes to the top of my Must See List. 🙂
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January 8, 2016 at 9:49 PM
Awesome. I hope you’ll like it. Definitely a study in gangster mood.
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January 9, 2016 at 7:47 PM
I’d been interested in watching some of the French films the term ‘noir’ was originally applied to (mostly in the interest of seeing how the genre developed once it got picked up in the US) but I didn’t really know where to start… This looks like a good place! If you can recommend any others too, I’d be grateful 🙂
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January 9, 2016 at 7:50 PM
I think you’ll enjoy Grisbi, and thanks for commenting 🙂
I’m not much of a French film buff/expert, but Bob le Flambeur and Rififi are the two titles I see most often for the early/classic era in French noir.
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January 9, 2016 at 7:51 PM
Oops, hit send too soon. Let me also note that the term “film noir” was coined by French critics talking about American films. Actual French noir followed the American.
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January 9, 2016 at 8:03 PM
Ahh I thought there had been few French ‘noir’ films when Frank coined the term. Clearly I still have MUCH to learn 😉
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January 9, 2016 at 8:04 PM
Me too! 🙂
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January 10, 2016 at 6:39 AM
It’s a lovely overview of this film, which I have yet to see! Thanks for writing 🙂
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January 10, 2016 at 5:08 PM
Thanks for commenting! Glad you enjoyed it.
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January 10, 2016 at 4:32 PM
Oh I’m curious about seeing more Jean Gabin’s film! This one looks like a great option! 🙂 Thanks for your awesome article
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January 10, 2016 at 5:09 PM
This and Moonrise are the ones I’ve seen and enjoyed very much. 🙂
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January 11, 2016 at 6:59 PM
I am very much a lover of the french noir movement and noir. I am now wanting to check out this movie. I do love many french classic gems. The french have an eye for making great movies
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January 11, 2016 at 8:21 PM
Hope you enjoy Grisbi. It’s very French without being too ornate or nihilistic in style, I find.
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