• Touchez Pas Au Grisbi

8/2/25 (Sat)

Writer/director Jacques Becker’s acclaimed 1954 film, which has different English titles but translates as “Don’t Touch the Loot”, was apparently a landmark in France. It brings a more introspective take to film noir, giving new life to that genre as well as reviving the career of the aging former heartthrob Jean Gabin.

In the familiar-sounding setup, a criminal plans to retire after his last heist, which involves the theft of gold bars. He brings the loot to a fence, who promises to get the money together and pay him in a few days. In the meantime, his imprudent partner, jealous of his straying girlfriend, blabs to her about the gold in an attempt to impress her. She promptly relays that to her lover, who plots to grab the goods for himself. The ensuing movements draw the would-be retiree back into the game, ultimately leaving a string of dead bodies and, ironically, putting the stolen goods back in the hands of the police.

The story is intricately plotted with memorable characters and scenes, all of which build credibly to the final violent sequence. But the film is dominated by the definitive performance of the unflappable Gabin. Supremely confident and trusting no one, he moves adroitly among the landmines that the story plants for him throughout. He never shows his hand, whether glancing calmly at the newspaper announcing the heist that he secretly pulled off or planning how to deal with the aftermath of his partner’s big mouth. He retains his cool even as he slaps two irritating women and a man for getting in his way. He is the model of a noir gangster.

At the same time, it’s clear that he cares for his colleague, played by René Dary, more than the many women who clamor for him. In the film’s most striking scene, Gabin, sheltering Dary in his room, offers wine and pâté, pulls out pajamas, fixes his bed and brushes his teeth, followed by Dary doing the same. The unexpected domestic sequence gives a different face to the suave Gabin, underlining that these guys have lives aside from their dramatic criminal activities. This would be the first thing to go in a Hollywood remake, and that would be a shame. It shifts the focus from the plot per se to Gabin’s character in a very un-noir like touch.

Dary and Paul Frankeur as the nightclub owner are also excellent, and a young Jeanne Moreau impresses in a small role. Very enjoyable film.