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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 outmoded 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 space. 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 noble 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 quick-witted interiors of oppressive theatrical artifice and gloomy outdoor locations; between static scenes where nothing mighty happens and jolting bursts of brutal violence and action. You even acquire it in the vivid closing car jog, as thrilling status work intercuts with Hitchcock-style encourage projection. This disparity between the true and ideal gives the film its melancholic, philosophical heart, and gives the climax an over-powering force, place in the composed 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 stunning because the period had been tacitly removed from the public sphere. But there is nothing so portentously substantial 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 famous 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 plot, 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 mask, a revenant infernally condemned to relate mistakes and leer former friends die.
Like a blooming wine, TOUCHEZ PAS AU GRISBI has frail 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 tumble completely into the film, as the restored sunless and white images are simply fair.
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This movie is not like today’s heavy-handed violent gangster movies, but a more pretty and sophisticated presentation that focuses on character development and its themes of loyalty, betrayal, and an adherence to a good code. Jean Gabin, who plays the urbane and respected criminal Max, is the soul of this movie, presenting Max as charming, stoic, and ruthless. Big detail is given to ordinary tasks, like the serving of a meal, brushing of one’s teeth, etc., but the enact, 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 uninteresting talky recount, 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 perceive and what is filled in by one’s absorb imagination. As the tension mounts in the movie, you will be glued to the shroud inspiring the arms of your chair with withering anticipation. They don’t form ‘em like this anymore, neither here nor in Europe. This movie is a resplendent example of both French cinema before the Current 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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Zachary Duncan