Word: crimes
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...Jules Dassin, who died this week in Athens at 96, you could say he was the prime developer of the movie crime caper, and leave it at that. His 1955 Rififi, with its wordless, minutely-detailed, half-hour jewel robbery, and the 1964 Topkapi, with an even more elaborate heist, inspired dozens of imitations, in films from The Killing, Ocean's Eleven and The Italian Job to The Usual Suspects, Mission: Impossible 2 and that mini-masterpiece of stop-motion animation, Wallace & Gromit in The Wrong Trousers. If some star is hanging from a rope over riches protected...
...crime movie was just one item in the dossier of this fascinating, hard-to-pin-down ex-pat auteur. And Dassin lived long enough to watch the fickle swing of fortune's pendulum over and over until the movement became almost routine. It was as if he were a character in one of his heist films: top of the world one minute, disgraced and disconsolate the next, but always angling for the next big break...
...down, and then out. He was the first blacklisted director to earn a secure reputation in European films, and under his own name. (Another American exile, Joseph Losey, was making films under pseudonyms.) When the young critic Francois Truffaut saw Rififi, he wrote, "From the worst crime novel I have ever read, Jules Dassin has made the best film noir I have ever seen." Dassin's Euro-movies had a vogue among middlebrow U.S. reviewers, who might have thought he was French. (Pronounce it Zhool Da-saaan.) The hipper critics knew better. He was "strained seriousness" to Andrew Sarris...
...that revived Dassin's rep - not for the Mercouri films but for his early-prime crime pictures. (Film noir is a genre that never goes out of favor.) The Criterion Collection lavished its legendary care on editions of Brute Force, The Naked City, Thieves' Highway, Night and the City and Rififi. And when that film was briefly released in theaters in 2000, it won a special award from the New York Film Critics Circle. Yet a bunch of Dassin's major Euro-pix, including He Who Must Die, The Law and Phaedra, and his late-60s urban drama Up Tight...
...Dassin had a lucky bounce when producer Mark Hellinger hired him to direct Brute Force, and the director rose to the challenge with one of the boldest, tautest films of the postwar crime cycle. Finally, he was in the gnarled noir territory that suited him. The story of a vicious prison guard (Hume Cronyn) and the angry cons under his boot, Brute Force is a sharp evocation of unrest in a totalitarian state. It also set up motifs Dassin would keep returning to. Here, as in Rififi, the lead character (Burt Lancaster) is a criminal who has our sympathy...