Jess Franco’s Rififi in the City isn’t really a sequel to Jules Dassin’s Rififi, but it does have a vague connection to that classic crime film. Jean Servais, who was the star of that flick, plays the heavy here. Also, there is a safecracking scene that plays out without sound or music, although it’s not nearly as long as the caper scene in Rififi. While the title may have been trying to capitalize on Rififi’s success, Rififi in the City remains an entertaining crime thriller in its own right.
A lowly stoolpigeon named Juan (Serafin Garcia Vazquez) learns a big-time politician named Leprince (Servais) is secretly the head of the crime syndicate in the city. Naturally, Leprince has him killed. Juan’s handler, Mora (Fernando Fernan Gomez), is an upstanding police inspector who flies off the handle when his informant is murdered. Mora rattles Leprince’s chain and his goons retaliate by beating him up and tossing him in the river. He recovers and quits the force so he can move freely to get back at Leprince without having to report to his hardened police captain (Antonio Prieto). Complicating matters is a woman who dresses all in black and goes around the city bumping off Juan’s killers. Of course, Leprince is number one on her hit list.
Rififi in the City is a tough, mean, and entertaining little crime picture. I know I'm biased towards Franco’s horror and sleaze extravaganzas, but even I have to admit, this was a surprisingly classy and respectable affair for Jess. It serves as proof that Franco could deliver a beautiful looking film if given the proper time, money, and resources. The camerawork is often interesting, the black and white cinematography is excellent, and some of the compositions of light and shadow are pure film noir. The strong performances, solid action, and clever twists and turns help make this a crackling thriller.
At one-hundred-and-four minutes, it is a little on the long side. There’s probably one plot complication and/or needless supporting character too many, but nothing that dramatically gums up the works. There’s also a lot of padding in the form of calypso-jazz numbers and cabaret song and dance routines. At least one of these numbers is pretty great though as it features Maria Vincent all dolled up in a sexy matador outfit.
As far as Jess Franco cinematic trademarks go, there are a few slow, somewhat aimless camera pans. Gratuitous cabaret numbers are also one of his signatures as well. Plus, this was the first in-name only sequel he directed. (See also Ilsa, the Wicked Warden.)
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