男人的争斗

《男人的争斗》讲述了一贫如洗的托尼决定东山再起，联系了几个昔日好友共同计划打劫珠宝店，经过四个人的精心策划和周密部署，珠宝顺利到手。不过他们后来发现，其实最危险的敌人并不是警察，而是他们的死对头，绑架了他们中的一个人的儿子，扬言也要从中分得好处。经过一场激烈的枪战，托尼成功地救回了孩子，可是自己却不幸中弹，因此而丧命。

完美犯罪教科书

《男人的争斗》 年代：1955年 / 国家：法国 / 导演：朱尔斯·达辛 / 主演：吉恩·塞维斯、罗伯特·曼努尔、卡尔·穆勒


     影片的开场是一张赌桌，五个人正围坐在桌边打牌。主角托尼的出场始于他的双手，镜头从手往上摇，摇到托尼的脸。从手而起，说明手对于托尼来说，是非常重要的，毕竟哪个贼偷东西不得手活儿好啊，所以这一组镜头，也是在暗示托尼的身份。



     跟托尼打牌的是皮瑞·格拉特，他坐在托尼的对面，这其实是确立了托尼和格拉特的对立关系，为下面的矛盾升级做铺垫。

     另一个主角乔的出场则是在家里，他的儿子在用衣架跟他恶作剧，这也交代出乔是有家庭的人。就像手之于托尼一样，儿子之于乔也是不可分割的重要部分，这将会在之后的部分有所体现。

     托尼赌博没钱了，就打电话向乔求助。在接电话时，乔说：“你的干儿子在扯我的脚。”什么样的人会认干儿子，非好兄弟之间莫属。再加上托尼第一时间给乔打电话求打捞，也能看出两人非比寻常的情谊。


      乔很快赶到托尼赌博的地方，将被排挤的托尼解救了出来。从老板的口中我们得知，托尼蹲过5年牢，几个月前刚释放出来。只是他为何入狱，并没有明确的交代，不过可以猜到托尼当年是跟乔等人联手作案，才导致落入法网的。也许乔如今的两肋插刀，是对当年亏欠之情的加倍奉还。
      乔带着托尼来到一家咖啡馆，他们的另一个同伙马里欧来了，他还带来了一个作案计划：抢劫这家叫Mappin & Webb的珠宝店。


      马里欧打算半夜隔开橱窗的玻璃，窃取里面的珠宝。但托尼认为那里的警报器太多，这个Case不靠谱，直接就拒绝了。
       晚上，在乔的家里，乔告诉托尼，托尼的旧情人玛杜在一家俱乐部里工作，目前是格拉特的情人。这消息传到托尼的耳朵里，他自然是气不打一处来，当晚就来到那家俱乐部。当玛杜见到托尼时，也是惊讶地合不拢嘴。

       原来玛杜在托尼入狱后不久，就移情别恋了，她的不忠激怒了托尼。托尼命令她脱掉衣服，然后用皮带抽打她，而在这个过程当中，镜头移到了墙上的照片，那张照片正是他们当年在一起时拍的。看来玛杜所说的“我没有忘了你”，并非是谎话。



       托尼赶走了玛杜，立刻打电话给乔，说他决定加入他们的作案计划。

       托尼态度的立刻转变，必然是跟格拉特有关。赌桌上，他被格拉特排挤，相当没面子，如今就连女人都被格拉特夺走。可见如果一个男人没有钱，不光是夫人难保，就连男人最要命的尊严也怕要扫地。所以托尼决定豁出去，干一票大的，挽回自己的颜面。
      托尼、马里欧和乔三人立刻开始安排，托尼认为整个偷窃过程不能带手枪，并且解决警报器是关键。之后他们又部署了相关人员，找来了一个开保险箱的能手凯撒，还把藏偷来钻石的下家也安排好了。从画面构图上可见，托尼处于最中间且最高的位置，这就意味着他将成为整个作案组的中心人物。

      托尼把珠宝店附近的店开门时间等情况全部摸清楚，这为他们的作案奠定了很好的基础。场景又再次来到那间俱乐部，此时，团伙的第四位成员凯撒也已经出场了。值得一提的是，他的扮演者就是本片的导演朱尔斯·达辛。

      舞台上一名叫薇薇安的舞女正在唱歌跳舞。影片在这里完整表现了这段歌舞，并在歌词中大量提到了Rififi这个词，也就是本片的片名。在法语中，Rififi有斗殴的含义，而薇薇安反复唱到这个词，再加上幕布后面一个拿枪的表演者的剪影，都在强有力地直指影片的主题：男人之间的争斗，必然少不了女人的因素。事实上，薇薇安成为了之后改变事件走向的重要角色。但在当时，薇薇安的美可迷倒了坐在台下的凯撒。



      接下来的一连串镜头就是四人为行窃做的准备工作。先是做出珠宝店门锁的模子，然后打出钥匙。托尼再假装购买珠宝，进店考察环境，并趁打电话的时候，留意到了警报器的样式。当出现警报器时，画面是采用推镜头的方式，这就表示攻克这个警报器，是作案成功的关键。





      四人找来了一台一模一样的警报器，开始研究解决方案。他们试过了很多方法，剪线、拉闸都能触发响铃，哪怕是稍微发出大一点的声音，也不能幸免。最终还是托尼发现了一种方法，用灭火器喷出泡沫糊住发声器，这样会使铃声变哑。

      准备工作全部完毕，正式作案开始了。影片有条不紊地详细表现了整个作案流程，第一步：搞定守夜人。这一步比较容易，捂住他的嘴、蒙住他的眼睛，再绑在椅子上就可以了。

      第二步，换鞋和挂窗帘，这都是为了避免引起外人注意而做的。同时，在托尼的小本子上也记录了每一个外来干扰出现的时间，比如那辆末班车就准时出现。




      第三步，由于保险柜存放的房间戒备森严，只能从楼上进入，所以需要在二楼的地面上挖一个洞，然后进入一楼。

     
      这里还出现了一个小插曲。一名夜巡警察经过这家珠宝店时，似乎是发现了什么，回过头目不转睛地看。此时，在观众心中留下一个大大的问号？难道事情败露了？



      结果是警察发现地上有一只烟盒，他以为里面有烟，结果打开后是空的，他失望地扔掉了烟盒。事实上这个烟盒就是托尼扔下的，好在这只是虚惊一场。

     很快，二楼地板被挖开一个小洞，为了试探是否已经挖通，他们放了一张纸巾，由于上下有气流串通，纸巾就会被风吹动，这就意味着已经挖通。然后他们又伸下去一把雨伞，这又是做什么呢？




      原来，为了防止掉落的石块触发警报，需要用张开的雨伞来承接那些碎石块。

      当洞被挖得足够大时，就可以进行第四步了。托尼脖子上挂着一个灭火器进入一楼。

     最惊心动魄的环节来了，那就是搞定警报器。画面在托尼和警报器之间来回切换，增加了气氛的紧张感，而托尼也由于紧张，不得不闭上眼睛，还不时咳嗽几声。



     泡沫喷上之后，警报器变成了哑铃，托尼很顺利地就把警报器报销了。其他三人也进入一楼，并合力将沉重的保险箱倾斜放置。这个过程也很完整地呈现，包括乔被保险箱压在下面时的吃力表情也都直观地记录了下来。

      开保险箱是第五步，不同于现在电影中破解密码的烧脑情节，本片用的方法比较“老土”，就是直接在箱体上开洞。凯撒用模具在箱体上做了标记，再用电钻钻出三个洞，用来固定支架。不过这个环节所耗费的时间也是最长的，导演将这个工具与表进行了相溶的画面交接，体现出时间之紧迫，而单单是钻洞，就用了将近3个小时。


 
       珠宝就近在咫尺，能够成功在此一搏。开箱前的那一刻，镜头在四个人和工具之间来回转换，这也把气氛推向了高潮。随着一声清脆的声音，保险箱被打开一个洞。他们成功了。






      取走了箱里的钱，临走时，凯撒又顺走了一枚戒指。他想要把这枚戒指送给心仪的薇薇安，但之后这枚戒指却出卖了他，真是贪心不足啊。

      托尼先去开车，但他们的车引起了两个警察的怀疑，他袭击了一名警察，然后迅速开车接其他三人上车，逃离现场。

     之后，托尼又把所有的作案工具扔到河里销毁，此时他的身后有一辆火车经过。火车是宿命的象征，他们的这次行窃的确成功了，但真的逃得过命运的安排吗？

      整个偷窃过程长达20多分钟，而在如此长的时间里，竟然没有一句对白，托尼等人的交流全凭眼神和动作，可见他们之间的默契程度之高，也证明了他们的盗窃水平相当老练成熟。他们所使用的工具也不繁复，纸巾、雨伞、灭火器等都是日常所用的东西，却能被运用到行窃案件中，令人叫绝。这一段落早已经成为了经典，许多导演都深受启发并在自己的电影进行致敬。比如梅尔维尔在《红圈》中就几乎原样复制了这段作案场面，而吴宇森显然在《纵横四海》里也映射出朱尔斯的影子。
     最后他们可以分享战利品了。满满一袋子的珠宝，目测能值24亿法郎。而在分赃时，他们四人也都道出了行窃的理由，托尼是因为玛杜；乔是为了自己孩子能够在一个富裕的家庭里健康成长，不至于重蹈自己的覆辙；马里奥为了让妻子能“睡遍百货商店里所有的床”；而凯撒的目的更为纯粹，他是为了自己四个并不漂亮的妹妹能够嫁出去而“筹集”嫁妆。也就是说，他们都不是为了自己的一己私利而行窃，这就把影片的主题推上了社会问题的高度。黑色电影中没有绝对的好人和坏人，有时做坏事的人也都有着人性化的一面。


       为了保险起见，马里欧将钻石藏到了家中的一个台灯的底座里。

       盗窃成功绝不会成为影片的终点，因为还有另一伙人对托尼咬牙切齿，那就是格拉特。他之所以恨托尼，也是因为玛杜：她离开了格拉特，并且很决绝。暴露托尼作案事实的，恰恰是凯撒偷的那枚送给薇薇安的戒指，那枚戒指落到了格拉特的手上。他将戒指放在那张报道珠宝店失窃案的报纸上，一切就都心中有数了。



       格拉特先从最薄弱的环节入手，凯撒。凯撒的自以为是让他功亏一篑，而面对手枪的威胁时，他又出卖了同伴马里欧。

       格拉特闯入马里欧的家，也用枪逼着他，让他打电话给托尼，但托尼坚决不答应。最终他和妻子都死于格拉特手下。而格拉特在逼问马里欧时，他却并不知道钻石就在他身旁的那只台灯下面，两者的同框也令对决显得很揪心。



       托尼了解了事情的情况，他对凯撒和马里欧做了两种不同的处理方式。凯撒因为出卖同伴，必须要按规矩办，托尼打死了他。托尼说了句“你违反了游戏规则”，实际上，这句话也是对扮演者朱尔斯·达辛说的，当年他闯荡好莱坞时，事业却始终不顺，因为他经常跟进步阶级关系密切，最终被麦卡锡主义列入黑名单，驱逐出美国。某种程度上来说，这也是朱尔斯违反了美国的“游戏规则”的写照。
       而对于忠心的马里欧，托尼则厚葬了他。毕竟混黑帮，忠诚度是绝不容许有半点迟疑的。



      乔也没能幸免于难，格拉特派人绑架了他的儿子。在儿子被拐上车的时候，前面公交车里一个父亲对自己的儿子说：“看这气球，如果没抓紧会发生什么知道吗？” 那只飘上天的气球，代表着乔被夺走的儿子这无可厚非，但从另一个层面来说，这也是他们四人处境的象征。他们当中，有人背叛，有人忠诚，四人因利益纠结在一起，必然关系不够稳固，当内在的不稳定在遭遇强大压力的时候，就会出现问题。所有美好的憧憬，都将像气球一样，抓不到。



      就在事发的紧要关头，另一边，迪特将钻石兑换成了现金，交到乔和托尼的手上，并不知情的迪特还有说有笑，就像他身边的充气玩具一样，是个小丑一样的存在，而他们两个主体，似乎也在嘲笑着乔和托尼，人都没了，钱还有什么用？

       为了救回乔的儿子，托尼决定深入虎穴。玛杜也在这时出现了，她帮助托尼买通了一个毒贩子，让他给乔的儿子送点药。实际上托尼跟在毒贩子身后，悄悄来到了藏匿孩子的别墅。



     营救儿子的过程很顺利，托尼杀死了两个看守，然后开车把孩子抱走了。



     但恰恰在这里出现了一个乌龙，这也是最让观众坐立不安的，那就是在格拉特的要挟下，乔竟然带着那一箱子钱前去交易了！而在此之前托尼再三嘱托不要给格拉特钱，但爱子心切的他，还是决定拿钱换儿子。

      格拉特赶到别墅，发现人质不见了，他明白此时他没有了交易的筹码，他只有一种选择，杀死乔，然后抢走钱。

      就在这时托尼赶到，打死了格拉特，但他自己也身负重伤。



      为了将孩子送还到乔的家里，托尼忍着剧痛开车行驶。这也是全片又一个高潮段落，并且同样采用快速的镜头切换，两旁的树木、开车的托尼、托尼痛苦的表情、流着血的脚、前方摇摇晃晃的路况，以及车上天真快乐的孩子，这一系列镜头所形成的比对，极大地拉长了托尼痛苦的时间，也让观众悬着的心始终不能落地，到底托尼能不能顺利把孩子送到家呢？







      这其中有一幕尤其令人心惊，孩子用玩具枪指着托尼的头。托尼此时已经是在死亡边上的人了，死于枪下并不是什么意料之外的事，只是他们的下一代难道还要重蹈覆辙吗？这也正印证了托尼难逃宿命的预言。

     托尼把孩子送到了乔的家门口后死去了。托尼的妻子路易斯跑出来，抱走孩子。她还看了一眼托尼，眼中满是冷漠，然后头也不回地走了。在这种是与非、生与死的强烈对比中，人性的复杂清晰可见。

     
      从技术角度上来说，在新浪潮还没兴起之前，朱尔斯·达辛就已经流露了比较明显的新浪潮特质，比如移动镜头的运用、实景拍摄、纪实特征、不完美的结尾等，影片大肆渲染江湖中的男性情谊，也启发影响了之后的很多黑帮片。

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"Film Noir is not a genre. It is not defined, as are the western and gangster genres, by conventions of setting and conflict, but rather by the more subtle qualities of tone and mood."
 -- Paul Schraeder

Noir is a style. It cuts across various art forms from movie genres to literary types. The content of a noir artwork could be anything, since any object or subject enveloped in the smog of noir is thereby noirish. As a smell, a tone, a mood, noir has so strong an impact on us that we sometimes almost forget about the content covered by the style. This impact, ubiquitous yet hard to be pinpointed, is achieved by novels and films in their own ways.

One similarity the film and the novel share when heading down their way of creating noir mood is the ability to bring the dead environment to life. In Chandler's Trouble is My Business, the private eye Marlowe has been constantly threatened- though not intimidated- by not only gangsters but also the environment surrounds him. After beaten by Grover, Marlowe wakes up in a hostile world, where the light from windows across the room was "hitting him square in the eyes", and the chair that bumped against his head has "clawlike legs," which hurt him "a lot more than young Jeeter's haymaker." Using these humanized verbs and demonized metaphors, Chandler creates an unwelcome feeling, like the feeling we get from the castle and the carnivorous plant in Nosferatu. For both of them, the external environment somehow parallels with the evil creature that hides in it. The difference is, Nosferatu as a horror film has vampire Count Orlok, the tangible devil figure; while in Trouble is My Business, the devil has no single representative. For instance in Marlowe's eyes, the room he is staying in apparently does not want him there; it is a sacred devil's realm that treats him as an interloper. While he is as vigilant as "a cat in a strange house." If there is enough sense left inside me, I would yell at Marlowe- clawlike leg? What are you, survival fanatic? Picturing yourself in a jungle? But that would be as annoying as picking up my phone during watching a film. So I let myself be drawn instead.

Then I found Marlowe's world more dangerous than a jungle. The jungle belongs to the realm of nature, while the environment Marlowe inhabits is closer to us and more lively- not in a natural way but a human way; intimate yet unpredictable, like the femme fatale Miss Harriet who owns it. To back up my point, here is an example from the novel: "the room was empty. It was full of silence and the memory of a nice perfume. One of those perfumes you don't notice until they are almost gone, like the last leaf on a tree." Chandler's environmental description generates a vivid mood. One of those moods that are empty but full, invisible but everywhere. It's a room that smells. One of those smells that are telling you a story, about a lady comes and goes. And us, like Marlowe, accept such smell as omnipresence in this jungle-like world. This is almost the essence of noir: it quietly covers our eyes, fills our noses without being noticed, implies us something while has more to hold in reserve. Only when the performance is over can we regain our sense stolen by the book/film, and realize what a nightmarish visit we've paid to the secret noir republic.

Coming back from Miss Harriet's noirsh apartment, we could also be threatened by the visually intimidating environment in films- yes, every form of art that shrouded in the noir mood is threatening for our bright glass heart. In a short musical sequence from Dassin's Rififi, the dead shadow comes alive just as the living character dies. The show begins with a long shot about the curtain goes up, a white screen appears with a male silhouette spinning in the middle of the stage. Simultaneously, a female singer comes into the frame from the left side down the stage. Although the singer is closer to the camera, the different ways she and the silhouette introduce themselves and their different locations in the frame demonstrate one thing: the lead role of tonight's show is not the charming woman who sings, but the mixture of light and shadow that dances on the stage. Having kept this in mind, the singer enters the frame not facing us but facing the silhouette. She bends over a little, opens her arms widely to the silhouette as if to ask his permission to perform with him. He responds politely with one arm opened, though it looks more like a powerful gesture for self-expression than a welcome.

The musical begins. It is nothing about the music, but the interaction between mankind and shadow. She constantly looks back at him, takes order from his gestures, while his dance movements resonate with her lyrics. The dialogue ends with the woman running towards the leaving silhouette. She couldn't catch him, like realities couldn't catch up with dreams. Thus after he left, she goes down the stage for substitutes- our sharp, skillful gangsters. But they are obviously not good enough for her, not better than that piece of living shadow. The shadow is our one and only protagonist, these so-called main characters cannot even get on the stage.

The woman's interaction with real men soon ends with a tracking shot of her going back on stage, disappearing behind curtains. It then cuts to a shot of the white screen with which a female silhouette enters from the same direction the singer has just disappeared. The female silhouette dances the the male silhouette until they leave the screen together; then comes a final long shot of the living woman comes back, lies on the stage alone, abandoned.

The above montage sequence generates an illusion that the singer has once became a silhouette during the show. Through cinematic artifices, we witness a transcendental bi-directional transformation between human being and the shadow- as to say, the living and the dead- that visualizes the typical noir mood even by a musical sequence. In film noir, there is always a sense of fatality within our spirited heroes (i.e. the internalized death of Bogart), and a smell of ominous vitality of environments around them (i.e. the dream-like countryside in Out of the Past). Characters in film noir walk on the edge between life and death, like the singer in Rififi expresses her adoration of the silhouette, interacts with it, and finally becomes a part of it. There she lies on the staircase in the last shot, smiles and sings; the silhouette behind her fires twice, then lights a cigarette by his smoking gun. With the last verse, the woman throws herself on the stage, as if the end of the show also ends her life, while the shadow is the real killer.

On the contrary of interacting with the environment, Marlowe in the scene we've previously discussed always maintain a distance with his surroundings by his Scotch. Scotch to Marlowe is like cigarette to Jeff from Out of the Past: having found out Eels is dead, Jeff goes to the manager’s office for the briefcase. Instead of leaving after he beats the manager and gets the briefcase, Jeff uses the manager’s lighter to light a cigarette. While in Trouble is My Business after Marlowe woke up at Miss Harriet's apartment, he warily "move around slowly", looks like he is going to investigate the environment and find a way out. But actually, no, Marlowe "got up on my knees and reached for the bottle of Scotch on the tabouret at the end of the davenport." Like what Jeff does with his cigarette, Marlowe, too, tries to build an illusion of standstill in a chaotic environment. He tries even harder by getting himself drunk in Miss Harriet's place.

This mood of alienation deliberately created by Marlowe reveals his wish to fight against his fate, which hides behind the fatal noir fog that Chandler created for him. However, the power of noir generated by writers and filmmakers is always stronger than that of the mood our heroes fantasize. We can hardly forget the ending sequence of Rififi, when Tony maniacally drives Tonio back home on a road directed by what Chandler might call "clawlike" trees. This is rather an extreme example, since the character is not trying to keep cool as Jeff and Marlowe did, but to simply keep himself alive. Or maybe worse- there is no way he can stay alive; he can only die more slowly. Hence, Tony isolates himself from the fatalistic environment, though unsuccessfully: he tries to focus on driving, but little Tonio excitedly asks him to look at those trees which seem to be originated from German expressionist films; Tony is not disturbed by the horrifying background music like we are, but Tonio laughs loudly behind him, shakes sleeves like a little devil waves his pitchfork; time is leaking like the blood on Tony's ankle, yet a red light comes, a cop approaches; Tony is already trying his best to speed up, but why the boy is not satisfied, urging him, pointing a gun at his head!

Compared with what a movie is capable of, it is more difficult for a novel to visualize noir elements such as light and shadow, vampiric woman and robotic man. However, the repetitive pattern of Chandler's first-person narrative drags us into the mood of fading away just as a film could do. Normally in a movie we don't see many repetitive shots- even similar ones- since we are told that every shot should have one distinguishable meaning, and repetition is considered lazy edit or just a lack of footages. In Trouble is My Business however, we see a deliberate use of repetitive pattern, for instance: "...I took a swig of the Scotch...felt my head again...took another drink...It was a nice room. Miss Harriet was a nice girl...took another drink...my head felt all right now. I felt fine...She was swell. I used some more of her Scotch...I made the elevator without hitting the walls on wither side of the corridor, floated downstairs, strolled out into the lobby...Everybody was swell."

In three short paragraphs, we follow Marlowe's psychological changes step by step. The repetitive description of "take a drink" doesn't annoy us at all. Instead, each repetition is honed to an edge that will produce a precise effect, and functions as a string that threads the jewels together, thus makes Marlowe's psychological progress as smooth as Miss Harriet's pearl necklace, thereby creates a mood of fading away. Everything in this scene is fading away: the smell of Miss Harriet's perfume, the pain in Marlowe's head, the traffic noise, the Scotch, and primarily, Marlowe's sense. Even Chandler is proud of the gradually washed-out color he paints, secretly compliments on himself by describing how swell the Scotch is: "the level in the bottle was a lot lower now. It was smooth and you hardly noticed it going down...I took some more." On the surface, Marlowe seems to be manipulated by Miss Harriet's Scotch, while it now comes clear that he is actually manipulated by the noir mood Chandler generates. Marlowe becomes oblivious to the hostility of the environment and his incongruity. As his sense fades away, the tension between this irresistible force (drunk Marlowe) and the immovable object (Miss Harriet's apartment) speeds up.

The mutual reference within the context is one weakness of cinematic works. When reading Chandler's novel, we can go back and forth to savor the mood he creates through the coherent way of storytelling. When watching a film however, the linear screening to some extent forbids us from actively building up a clear, step-by-step procedure of the emotional progression. Film does it for us by montage.

In the famous heist scene from Rififi, there is a fast-cutting sequence about the criminals destroying the safe from its back. It opens with a long take of the four characters with César in the middle operates a tool, then a medium shot of César and Tony's intense facial expressions- their eyes are blocked by César's movements from time to time (see pictures below), thus generates an anxious rhyme. Next comes a close-up of the tool. While we get closer to the tool, the constant noise created by its spins is subtly adjusted, becomes more screeching and irritating than it used to sound in any previous shot. From now on the montage starts to speed up, switching back and forth between close-ups: César's hand movements and flickering eyes; Tony's sweaty, dead serious face and eyes that roll to the direction of César then roll back on the safe; the spinning tool and jumping iron filings; eye contacts between Mado and Grutter that are full of expectations; quick cuts between their sweaty faces... As the cutting beat gets faster, the camera gradually approaches the tool, until we can only see the shimmering iron filings.

We can almost sense the anxiety by just describing this quick montage sequence in words. But why? Obviously it is not because of the suspenseful content- we know they are going to open the safe without getting caught; it's only a half way of the movie! When it comes to the mood of noir, the content doesn't matter. During watching this sequence we forget about the content, and solely focus on tricks that pull us into the anxious- not fearful, since we are not afraid of any particular subject such as them being caught- mood of noir.

Besides the montage and the corresponding sound effects, the change of camera angle is also capable of generating moods. Take the above sequence for example, it ends with a long take when César sets down the tool, takes out a hammer and begins to hit the safe. The camera is placed at eye level, gives us a chance to anticipate equally as the criminals do and thus, makes us the fifth criminal by a point-of-view shot. But the camera shakes: face it, we are inexperienced; our accomplice César's first strike makes us shivers as hard as the safe does- shame on us, Tony only blinks his eyes. The camera rapidly steadies itself, pretends to be calm through the second and the third strike. But as soon as the safe gets destroyed, the camera- in this case, us- eagerly leans toward the big hole on the safe. It rushes too fast, even faster than the other four gangs, and becomes shaky again. Affected by the excitedly anxious mood, we are greedier than our accomplices. The noirish mood Rififi displays gives a stronger impact on us than on the characters in it.

The novel and the film generate and enrich noir moods through enormously diverse and powerful artifices. A mood conveyed by any film image is a complex function of the visual qualities (camera angle, camera movement, lighting, etc.), the content, and the juxtaposition to surrounding images. While a novel enriches its moods by imaginative narration, precise psychological description and an innovative eye of the writer that we don't normally have.



都说红圈中入室盗珠宝那场戏很经典，殊不知这是梅尔维尔向朱尔.达辛这部杰作的致敬。

红圈那段戏中最惊艳的当属来复枪准确击中钥匙孔打开门那瞬间，其实过程也就从隔壁房间进入，爬到房顶翻到珠宝房门口，划开玻璃，放到警卫，在开门后就尽情享受金银财宝了。

相比之下，rififi的过程复杂许多，面临的困难也很棘手。最大的问题在于如何破坏报警器，这个已经在偷窃之前得到解决：用灭火器喷出的泡沫盖住铃声。至于其他的流程一概没有提及，这就吸引我们跟着这四个盗贼，看他们如何得逞。

就连一个地板钻洞都要拍好几分钟，用到了榔头、毛巾、凿子、钳子，甚至是雨伞（具体作用不便说明，看了就明白）；在放下保险柜的时候，居然用了两种三块不同的木块支撑；在某时某刻还要对着本子记录的内容看窗外发生的是否相符（如此时是否如往常一样有运送车开过，是否有巡逻经过），一切足以见得整个过程的计划周密。

imdb trivia 中有一段 说 达辛曾说 他把这个片子带到嘎纳 时候已经破产了。。。。在赌场玩，连最基本的赌码 都是向制片人借的，可以说他自己已经身无分文。。 他意思是自己很穷，拍这个片子很困难。他是想给自己拉拢有“同情心”的观众。并 把自己想象成了孤胆英雄。。。。

但是实际上 作为电影导演达辛之前的几个片子在商业上也算是中等成功

BRUTE FORCE
THE NAKED CITY
THIEVES HIGHWAY
NIGHT AND THE CITY

上述电影 的票房，在今天也相当于能排名30-50。。今天的年度排 这个名次相当于有多少票房？？ 大概4000W-8000W， 今天能导演这个级别电影的导演会是穷人？？ 况且达辛在法国还经营生意，有朋友，他的片子在法国，观众比例也更高。 这样一个达辛会身无分文吗？

解决这个问题只有2种可能。
1，他根本就是胡说。
2，他把钱都输了，他是个好赌博的人。

这第二种可能的另一个证据就是 他同时还夸耀说，正是那次借来的筹码让他赢了大笔钱。 可见赌徒本性不改。。


另外他的关于这部电影的成本之低，估计也是忽悠你的。，根据我自己的经验 ，这个电影在法国起码是中等成本。

黑吃黑的早期经典~朱尔斯达辛的黑色指导风格以及几位主演精彩的演出赋予影片别样的悲剧色彩。偷盗珠宝的段落和现代的美剧和电影比起来虽然刺激性欠缺一些，受到的干扰和障碍少一些。但依然堪称那个年代的杰出段落~影片从偷盗片到绑架片的转折稍有突兀，应该启发了《猜火车》吧。