Podcasts about Dassin

We reach the mid-point of Revenge Month with a French crime classic that features one of the greatest heist scenes in cinema history. Which has arguably never been topped, with its use of clever thieving techniques, intricate teamwork between the 4 main characters…and silence. Rififi is violent, many people die, it even has a drug addict and it has that brilliant break-in sequence where our "heroes" steal a lot of diamonds. Jules Dassin had been blacklisted by Hollywood during the Red Scare nonsense in the '50s, so he went over to Europe and directed Jean Servais and many (not well-known) international actors. There's a lot going on here, especially the subtext about Dassin's treatment by Hollywood, but the centerpiece break-in is the highlight. So get your handgun locked & loaded to get revenge on the gangster who made it personal as we post episode #658 of Have You Ever Seen, a back-and-forth about Rififi. Sparkplug Coffee sponsors this podcast. Go to "sparkplug.coffee/hyes" and then use our "HYES" promo code to save 20%. Subscribe to Have You Ever Seen on your app, but also rate us and write a review. Hit up YouTube as well (@hyesellis in the search bar) and subscribe to our channel, but also comment, stroke the like button, and all that stuff. Let us know your thoughts about our audio stylings with an email (haveyoueverseenpodcast@gmail.com). On social media, we're @moviefiend51 and @bevellisellis on Twi-X and ryan-ellis and bevellisellis on Bluesky.

 Dassin, Hallyday, Sardou, Becaud, Carlos, Reggiani, Mouskouri, Lenorman, Fugain... la liste est bien trop longue et il est bien plus aisé de nommer les artistes pour lesquels notre invité n'a pas pas travaillé, que l'inverse. Avec 1350 chansons enregistrées, des chansons phares, des pépites inconnues, mais surtout des chansons cultes dont on peut dire: "et si elles n'existaient pas". Remplir le vide est le propre de l'addiction et Claude Lemesle en sait quelque chose. À près de 80 ans, il en a croisé des gens avides d'amour, de succès, d'intensité, tout comme lui sans doute, dans les vapeurs d'alcool et de tabac des soirées folles parisiennes, Claude a vécu tant de vies et il continue de le faire sobrement. Bon temps que c'était l'alcool, ma foi, c'était pas le dernier.

L'autre jour, je remontais les Champs-Elysées et c'est terrible : pas moyen de ne pas penser à Joe Dassin. Incroyable comme cette chanson qui n'avait d'autre vocation que d'être consommée dans l'instant puis de tomber dans l'oubli sous des centaines d'autres est connue encore aujourd'hui de tous. Y compris de ceux qui n'ont pas connu cette époque où on les remontait, ces Champs, pour aller au cinéma, au Lido, au Pub Renault ou Citroën pour y boire un verre entre copains. Non, si quand on passe en voiture, ça ne saute pas aux yeux, les Champs de l'époque de Joe Dassin, c'était autre chose. Déjà, comme la Grand Place de Bruxelles, les touristes ou gens de passage étaient perdus au milieu de Parisiens qui aujourd'hui, ont déserté ces lieux beaucoup trop fréquentés et parce que plus aucun commerce ne les concerne.Mais la chanson est restée, comme si on n'accordait plus aux paroles la place qu'elles méritent. Et c'est d'ailleurs singulier quand on sait que Joe Dassin n'est lui-même ni Parisien, ni Français d'origine. On connaît l'histoire de son grand-père Samuel qui arrive, adolescent, à New York parce que Juif, il a fui les massacres et persécutions en Russie. Il parle à peine trois mots d'Anglais aussi, quand l'employé du service immigration lui demande son nom, il lui bredouille dans sa timidité un nom tellement incompréhensible que le gars le lui fait répéter plusieurs fois avec force d'impatience. Et là, croyant qu'il lui demande la ville d'où il vient, le jeune homme dit “Odessa”. “Ah Odessa ! Alors on va faire simple : tu t'appelleras désormais Dassin.” Ainsi naît Joseph Dassin, une vingtaine d'années plus tard, nous sommes en 1938, l'Amérique a bien changé, la famille Dassin aussi, Jules, le fils de Samuel et père du petit Joe, est metteur en scène de théâtre. Bientôt il passe derrière la caméra et devient un des réalisateurs hollywoodiens en vue. Mais en 1950, il est rattrapé par la chasse aux communistes lancée par le Congrès américain et le FBI. Bien qu'il ait quitté le parti à la fin des années 30, Jules Dassin quitte l'Amérique avec sa famille en 1950. Joe a donc douze ans quand il découvre la France et la Suisse dans laquelle il suit les divers engagements de ses parents : 11 écoles en six ans, ce n'est pas facile.Alors, après son bac, il quitte l'Europe pour rejoindre cette Amérique qui l'a vue naître. Pour payer ses études universitaires, il jobbe et n'hésite pas à mettre les mains dans le cambouis, accepte tous les boulots. Et il y parvient, un Master en Anthropologie, au bout de cinq ans. Nous sommes dans le Michigan, il y croise un jeune étudiant juif comme lui, mais qui a laissé tomber les études pour la chanson. Alors Joe apprend la guitare comme son pote Robert Zimmerman qui ne s'appelle pas encore Bob Dylan. De retour à Paris, Joe se destine à un tas de choses mais pas la chanson, c'est un accident de la vie : la chanson qu'il a enregistrée pour l'anniversaire de la femme qu'il aime, est entendue par une de ses amies qui travaille chez CBS, la firme américaine qui vient d'ouvrir ses bureaux à Paris. Un Américain qui chante en Français ? Mais c'est excellent ! Voilà le gars qui nous faut. Oui, tout ça est vraiment arrivé à Joe Dassin, ça s'appelle la Légende.

durée : 00:03:08 - Le karaoké de Thomas Croisière - par : Thomas CROISIERE - Anne-Sophie voulait pour ses deux voyageuses, Augustine et Wihelmine, karaoker Desireless. L'occasion de parler de son auteur, Jean-Michel Rivat et de chanter Delpech, Dassin, François et … Michel.

Claude Lemesle : il a écrit plus de 3000 chansons pour Bécaud, Dassin, Sardou et beaucoup d'autres. Il raconte ses secrets de fabrication dans un livre.

Claude Lemesle : il a écrit plus de 3000 chansons pour Bécaud, Dassin, Sardou et beaucoup d'autres. Il raconte ses secrets de fabrication dans un livre.

Join hosts Jason, Anthony, and Tim as they discuss Jules Dassin's 1950 crime film Night and the City, a celebrated film noir picture (and film gris) shot on location in London. Like all of the directors discussed this season, Dassin was blacklisted during the infamous House Un-American Activities Committee (HUAC) hearings. The director subsequently relocated to Paris, where he made his groundbreaking heist film Rififi (1955), and later settled in Greece, where he lived the rest of his life. Dassin remained embittered about the blacklist and the Second Red Scare and never shied from speaking publicly about it. This history and a thorough analysis of the film are discussed at length in this episode. We hope you enjoy it!   

Il y a dix ans, Didier Fassin avait plongé dans les BAC des quartiers pour une enquête anthropologique remarquable et remarquée (La Force de l'ordre). Cette fois, avec la sociologue Anne-Claire Defossez, Fassin a arpenté les Alpes, à la frontière franco-italienne. Ensemble, ils ont rencontré des exilés dont le périple raconte les monde et ses bouleversements. Des pandores qui ne savent pas — ou plus, ou ne veulent pas — savoir à quoi et à qui ils servent. Des maraudeurs solidaires qui disent notre humanité. Mais pas seulement: Defossez et Dassin ont aidé les migrants ; elle dans leur démarches administratives ; lui comme médecin.

"Il était une fois…" de Nicolas Herman : ll était une fois The Sugarhill Gang qui met en lumière le terme Hip-Hop... L'écrivain français Alexis Salatko pour son roman "Jules et Joe" (Denoël). Hollywood Forever Cemetery, 20 août 1981. Un vieil homme cherche la tombe de son fils. L'homme est Jules Dassin, grand cinéaste américain qui, un an plus tôt, a enterré ici Joe Dassin, chanteur au succès planétaire emporté par un infarctus à l'âge de quarante ans. Au crépuscule de sa carrière, Jules a une idée de documentaire : pour rendre hommage à Joe, il évoquera tous les 20 août de sa vie trop brève. Portrait croisé de deux artistes farouchement indépendants, ce roman est avant tout une exploration poignante d'une relation père-fils et un voyage nostalgique à travers le XXe siècle. Le coup de coeur de Gorian Delpâture : « Fuck Up » d'Arthur Nersesian (La Croisée). Un héros loin d'être parfait qui, largué par sa petite-amie et sans boulot, se met à errer dans l'East Village et ses cinémas miteux, trouvant un lit au fil de rencontres avec la faune locale : écrivain raté, yuppie de Wall Street, éditeur snob, gourou new age, réalisateur arty… Notre héros, lui, cherche sa voie et s'invente une vie au gré des situations. Mais à trop marcher au hasard, on arrive au bord de l'abîme. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

durée : 00:07:18 - Ces chansons qui font l'été - par : Bertrand DICALE - Tout l'été, nous parlons chaque jour d'une grande chanson d'amour. Aujourd'hui, un slow d'origine italienne pour poser une question existentielle.

durée : 01:29:11 - Avec Gérard Daguerre - par : Benoît Duteurtre - "Ma mère m'a inscrit au piano à 5 ans. 1968, Michel Delpech cherchait des musiciens en 1ère partie de Mireille Mathieu. Gilles Dreu, Sardou, Aznavour, Vartan, mais aussi Dassin avec qui j'ai fait des tournées extraordinaires en Afrique, à Tahiti. Lama, Lavilliers… Et puis Barbara..." Gérard Daguerre - réalisé par : Davy Travailleur

durée : 00:03:25 - Le Billet de Daniel Morin - par : Daniel Morin - Garou commet l'irréparable ! C'est sacré Joe Dassin !

Garou est un fan inconditionnel de Joe Dassin. Pour lui rendre hommage, et faire vivre son répertoire gorgé de tubes, le chanteur québécois sortira l'album "Garou Joue Dassin" en novembre. Il en dévoile le premier extrait, une reprise folk de "A toi",   Garou sortira donc l'album de reprises "Garou Joue Dassin" le 4 novembre prochain, renfermant 13 nouvelles versions des titres "L'Amérique", "Salut les amoureux", "Siffler sur la colline", "Les Dalton", "Le petit pain au chocolat", "Les plus belles années de ma vie" en duo avec Robert Charlebois ou encore "A toi"   Ce dernier a d'ailleurs été choisi pour lancer l'exploitation du projet, disponible en pré-commande. L'occasion de redécouvrir cette chanson d'amour, extraite de l'album "Le Jardin du Luxembourg" sorti en 1976       • La suite sur https://www.radiomelodie.com/podcasts/10160-garou-joue-dassin-lalbum-de-reprises.html

The following chapter of Bogdanovich's career has yet to be recorded in any significant capacity. Previous retrospectives of his works tend to end at his dramatic apex, with the more thorough examinations dipping into the later classics and recent reevaluations recognizing his last theatrical works. Nobody, however, has paid any attention to his TV works from the ‘90s. Nobody. “I did a lot of tv work that I'm very proud of, but television work doesn't get considered the same as a feature, even though you shoot it like a feature. It's still a movie. You still get the script right, you still cast it, you shoot it quickly. And it's harder to do because you're shooting fast, but it doesn't get any consideration. It's snob appeal.” That's what Bogdanovich had to say in a rare interview in which he was asked about his television works, expressing at least some bitterness at the disregard paid to the work he gave equal efforts to despite the smaller canvas. “I was directing, but I wasn't doing theatrical features. I did five television films in five years. I shot them very fast, and nobody saw them except millions of people.” Although these films are all but forgotten today, in their time Bogdanovich's “movie-of-the-week” work was quite successful. With every household glued to their tvs in search of nightly entertainment throughout the decade, Bogdanovich's films made waves across the Neilson ratings, but promptly disappeared from the pages of posterity. Even his first television project, a sequel to the classic Sidney Poitier film To Sir, with Love, has made no impression on the Bogdanovich canon. In a depressing fit of irony, the two Hollywood legends passed tragically on the same day, making To Sir, with Love II a kind of twilight coda for the both of them, buried within the legacies of their more treasured works. It's a worthy successor to its predecessor – better, even, in some regards, such as the way it transplants the tangential racial themes of the first movie to the progressive and more critical conversations of the 1990s. Bogdanovich's films had rarely ventured outside his prerogative for thematic material up until now, but by transitioning to for-hire work on television he'd find a number of new opportunities to explore perspectives and struggles which were beyond his own. Blessed Assurance (perhaps also known as The Price of Heaven) attempts to continue this conversation in its portrayal of a Korean War veteran returning home to face a moral dilemma in a job which requires him to prey on the vulnerability of an impoverished Black commune. The truncated structure of the TV-movie mold does the story a disservice and leaves the film little room to flesh out its themes. Its embrace of melodrama betrays the sense of distinction Bogdanovich eloquently bestowed on his first TV production, embodying the kind of schmaltzy, middling productions derisively associated with the genre. Rescuers: Stories of Courage: Two Women is the first in a series of three thematically related movies about courageous persons aiding the escape of Jews from Nazi agents in occupied Poland. Bognavoch helmed this first entry, but the film lacks any recognizable features attributable to the director. Despite himself having been conceived in the former Yugoslavia before his parents fled from the Nazis and landed in New York, the film lacks any personal distinction or any significant revelations – as bog standard as Bogdanovich ever got.Jules Dassin was unfortunately not one of the major Hollywood directors whose influence managed to inspire Bogdanovich to chronicle their legacy, but his important role as an architect of Film Noir's impact on cinema nonetheless managed to worm its way into Bogdanovich's career. The Naked City was a seminal 1948 noir which distinguished itself with a documentary-like approach to shooting on the streets of New York. Bogdanovich was hired to make a tv movie continuation of the characters first seen in Dassin's film, now dealing with the criminals of contemporary New York. Naked City: A Killer Christmas stars Scott Glenn in the role first helmed by grizzled noir everyman Richard Widmark searching for a serial killer terrorizing the city. It's about as close as Bogdanovich ever got to inheriting the legacy of Fritz Lang or Edgar Ulmer, but more often the film feels like any ordinary cop drama than an expressionistic revival.The next film from Bogdanovich couldn't be farther from his usual prerogative. A body swap comedy set in New Orleans where professional football player David Alan Grier and artist wife Vivica A. Fox mend their marriage through the old adage of walking a mile in each other's shoes. It's also a Disney film, brimming with the requisite amount of Disney cornball and childish humor. A Saintly Switch maintains a certain affable charm, a universal appeal which speaks to the importance of family and communication, while supplying some fantastical humor in all of Bogdanovich's illustrious comic career.   From one sports sphere to another, Bogdanovich's last TV film was produced, surprisingly, by ESPN. They asked him to make a movie about disgraced baseball legend Pete Rose, whose story interested Bogdanovich as a kind of embodiment of the failures of the American Dream. Rose rose his way up in prominence through a lucrative and record-breaking career in baseball, but squandered it all away thanks to a debilitating gambling addiction. He became a coach for the team he first became famous on, and started fixing games to pay his bills. When he was finally caught, he spent five months in jail and was stripped of all his previous honors. What we see in Hustle is that downfall in full, a depraved portrait of a fallen man finally reaching the end of his rope. If you're not a fan of baseball, or aren't particularly familiar with the legend of Pete Rose, then Hustle will likely be a foul ball instead of a home run. But regardless of how successful or not these films ultimately were, they kept Bogdanovich employed – and even more than that, they sharpened his skills. “I couldn't have made The Cat's Meow, which we did in 31 days, if I hadn't have done five television films back-to-back in five years — all of them 19, 20, 22, 24 days.” There would never be another Last Picture Show for the enlightened successor of the Hollywood masters, but he did manage some respectable efforts working in an undervalued medium. Bogdanovich never considered his television works any less worthy of consideration than his feature films, and neither should we. Considering how a number of Bogdanovich's most treasured films still don't have proper distribution (even Paper Moon lacks a North American blu-ray release), it should come as no surprise that his televisual period languishes thanks to pervasive obscurity. We feel very privileged here at The Twin Geeks to have the resources necessary for us to catalog and cover these forgotten films, with special thanks to Scarecrow Video in Seattle, Washington for preserving these works on a physical format, which not even the unsavoriest of internet pirates have thought to claim. It's up to us to preserve the legacy of filmmakers like Peter Bogdanovich; to do for him what he did for Orson Welles, John Ford, and innumerable others. To prop up his legacy and appreciate everything he gave to the world – classics, flops, scriptures, and chronicles – because, if nothing else, the life and career of Peter Bogdanovich exemplified an appreciation for the art of cinema above all else, and the necessity of its preservation and celebration in equal measure.

Os quatro fundadores do PFC se reúnem no primeiro episódio do ano, abrindo a oitava temporada do Podcast dos Clássicos. Alexandre, Fred, Sergio e Marcelo debatem o filme mais votado no nosso grupo no facebook, o noir francês “Rififi” (Du Rififi Chez Les Hommes, 1955), longa dirigido pelo americano Jules Dassin que serviu para ressuscitar a carreira que ele teve abortada nos Estados Unidos onde foi vítima da perseguição capitaneada pelo Senador McCarthy. Um dos grandes “filmes de assalto” da história do cinema, influência para diversos desse subgênero, Rififi chegou a ser acusado à época de ser muito explícito, uma espécie de “manual de roubo”. A fenomenal sequência do assalto à joalheria ficou famosa por não ter diálogos e ter sido brilhantemente dirigida por Dassin. ---------------------- Acesse este vídeo produzido pelo PFC sobre a famosa sequência do assalto: https://youtu.be/7BB7tXYKsyA Acesse nosso site: http://www.filmesclassicos.com.br Acesse nossa página no Facebook : https://www.facebook.com/podcastfilmesclassicos/ Nos procure no seu aplicativo de podcast do celular, no Spotify, YouTube, Anchor ou iTunes.

durée : 00:05:28 - On passe le week-end avec une star - par : ADRIEN MANGANO

durée : 00:02:37 - On passe le week-end avec une star - par : ADRIEN MANGANO

The inimitably stylish worlds of American Film Noir and pre Nouvelle Vague French crime cinema collide in the most commanding display of technical execution ever implemented in translating the artistry of the heist to the silver screen. After getting caught in the crosshairs of Hollywood's blacklisting during the McCarthy Era, director Jules Dassin found himself excommunicated to France, with nary an opportunity to reinvigorate his career in sight. With a meager budget and a cast of relative unknowns, including himself, Dassin set about making a film which reflected his desolate state of being, basking in the fabulously dark aesthetics of Film Noir and aided by all the salacious attributes of contemporary French cinema at his disposal. Rififi is most famous for its thirty-six minute long heist sequence, which plays out in almost complete silence. It is a high watermark for both the genre at large and for technical filmmaking in the abstract, as meticulously planned and executed as the crack team of jewel thieves demonstrate themselves to be throughout the film. We are joined this week by fellow The Twin Geeks staff member Stephen Gillespie, who has just returned from his double dose of festival coverage alongside Calvin, doling out the details for the highs and lows of both Fantasia Festival and Japan Cuts. We follow up last week's documentary discourse of Robert Epstein's The Celluloid Closet (1995) with his earlier, more resounding success, The Times of Harvey Milk (1984). All of this and more from your independent resource on classic and contemporary cinema.Timestamps:0:00: Stephen and Calvin go to Fantasia Festival11:13 Stephen and Calvin go to Japan Cuts26:00 The Times of Harvey Milk (1984)38:22 Rififi

The Night and the City is a wonderfully warped and thrilling noir that welcomes the audience into a shifting & vicious world hijacked by frauds and hucksters of the worst variety. The real heroes of the story, those like Gregorius (Stanislaus Zbyszko), have their hearts and bodies crushed by manipulative hustlers looking only to bleed them dry. It's a sad, stylish, and prescient film. Richard Widmark leads the way and he's terrific as an anti hero, whose really more of a villain than anything, and who slithers around London like a spastic, feral animal. It's dark and dreary and inseparable from the tales of Dassin making it. There's no fat on it, it's purposefully dark, beautifully photographed, and it's action sequences are peerless. The great brawl at the heart of the movie and the chase scene alone make the film worth watching. Our guest, Oliver Bateman does an incredible job shedding light on the history of the athletes featured in Night and the City, as well as those who appeared in other noirs. He explains the significance of movie's central fight scene and how it relates to the popularity of "works" in the professional wrestling world, as well as the athletes who pushed back against it. Hope you enjoy! with @MoustacheClubUS @blauer_geist @luso_brendan @rubberwidow

durée : 00:06:02 - Ces chansons qui font la France - par : Bertrand DICALE - Tout cet été, nous visitons en chansons la France, ses régions, ses villes, ses villages. Mercredi, la chanson sur Paris qui est peut-être la plus célèbre dans le monde ; il est vrai qu'elle arpente une avenue légendaire...

Today we're discussing Dassin's 1948 proto-police procedural/ noir film Naked City.

Réal Siellez nous parle du monde d'aujourd'hui à travers un artiste ou une chanson d'hier.

The blacklisting and expulsion of Jules Dassin from Hollywood after he was named in the House of Unamerican Activities, meant that the director ended up taking on this adaption of a French crime novel, a turning it into a noir classic that ties French filmmaking with American action, in something quite unique. Rififi was a sensation in 1955, earning Dassin Best Director at Cannes, and earning rave reviews in America which led to Dassin being the first blacklisted director to have a film open in America with his name on it, eventually leading to the end of the blacklist itself. Paul Nadin joins us to helps us prepare for the heist of the century. All this and more on Adjust Your Tracking! Follow us on: Twitter: @adjustyrtrack & Instagram: @betterfeelingfilms

Many students move across national borders to attend university. Although the number of these globally mobile students is small compared to the total number of students enrolled in higher education, there numbers are increasing. But the patterns are changing, with more regional and south-south mobility. The role of scholarships in promoting these new patterns of student mobility is gaining attention by researchers and development aid alike. My guests today, Joan Dassin and Aryn Baxter, have recently contributed to a new edited collection entitled International Scholarships in Higher Education: Pathways to Social Change, which was edited by Joan Dassin, Robin March, and Matt Mawer. Joan Dassin is a Professor of International Education and Development and Director of the Masters Program in Sustainable International Development at the Heller School for Social Policy and Management at Brandeis University. Aryn Baxter is an Assistant Professor in the Mary Lou Fulton Teachers College and Director of the Mastercard Foundation Scholars Program at Arizona State University (ASU). https://freshedpodcast.com/dassinbaxter/ -- Get in touch! Twitter: @FreshEdpodcast Facebook: FreshEd Email: info@freshedpodcast.com

This week, we begin our heist movies mini-season with the 1955 French film noir RIFIFI. After our usual reviews, we get into what this film is really about — including a bit of a history lesson from Rob — as well as discussing how this film is less ‘shiny' than many of the films it spawned, and is all the better for it. Next Time The next heist movie on our list is the original OCEAN'S ELEVEN (1960). Recent Media PARASITE (2020): Bong Joon-ho, Song Kang-ho, Lee Sun-Kyun THE SPANISH MAIN (1945): Frank Borzage, Maureen O'Hara, Paul Henreid Recommendations THE LADYKILLERS (1955): Alexander Mackendrick, Alec Guinness, Cecil Parker BRIGHTON ROCK (1947): John Boulting, Richard Attenborough, Hermione Baddeley LA DOLCE VITA (1960): Federico Fellini, Marcello Masttoianni, Anita Ekburg THE CONVERSATION (1974): Francis Ford Coppola, Gene Hackman, John Cazale Footnotes Firstly, here's more on THE SPANISH MAIN (Sam wasn't testing Rob; he was genuinely interested!): https://en.m.wikipedia.org/wiki/The_Spanish_Main. Here's a useful introduction to film noir: https://ahhsfilm.weebly.com/film-noir.html. For more on the blacklisting of Jules Dassin, see here: https://en.m.wikipedia.org/wiki/Jules_Dassin#Hollywood_Blacklist. This is an interesting article on the film, particularly in light of the idea of Dassin's feeling betrayed: https://www.columbia.edu/~lnp3/mydocs/culture/Rififi.htm. Finally, the IMDB trivia page on the film is a good read: https://www.imdb.com/title/tt0048021/trivia Find Us On Podchaser - https://www.podchaser.com/podcasts/the-prestige-417454 Follow Us - https://www.twitter.com/prestigepodcast Follow Sam - https://www.twitter.com/life_academic Follow Rob - https://www.twitter.com/kaijufm Find Our Complete Archive on Kaiju.FM - http://www.kaiju.fm/the-prestige/

durée : 00:07:47 - Ces chansons qui font l'actu - par : Bertrand DICALE - Les tubes de l’été ont parfois un rapport avec l’actualité. Tout l'été, nous explorons notre mémoire collective à la recherche de ces rencontres entre l’histoire et la chanson française. Aujourd’hui, L’Été indien de Joe Dassin.

This week we directly address the historic demonstrations that have been held across the U.S. and around the world in response to the most recent wave of highly public murders and other violent crimes perpetrated by police officers and their supervising agencies.To do this we watched Uptight, Jules Dassin's 1968 crime drama made following his return to the U.S. after being blacklisted from Hollywood. Uptight was released the same year as Rev. Martin Luther King's assassination and uses the aftermath as a backdrop to tell the story of a group black revolutionaries in Cleveland, OH and the botched gun heist that threatens to tear their movement apart.The screenplay was written by Dassin along with the film's star Julian Mayfield and co-star Ruby Dee who also co-produced the film alongside Dassin. It's based on The Informer, a novel originally set in Ireland had been twice adapted to film with John Ford's 1936 version winning 3 Oscars.The film's clear political stance made it a risky release for Paramount and despite helping to inspire the political messages of the emerging Blaxploitation genre, the film has been largely ignored for over 50 years.This film is obscure but easily available for purchase on DVD, rental or purchase on Amazon Video, it appears on channels like Criterion occasionally, and several versions are available on YouTube at the time of this release.This week we encourage listeners to check the movie out, show and discuss it to others, and donate anything you can (be it cash or your own time) to organizations in your community that help citizens fight against abuse from the police and other systems of power.

In this episode, Film Forum Presents goes bicoastal to bring you a conversation between the legendary director Jules Dassin and Bruce Goldstein, Film Forum’s Director or Repertory Programming, recorded at the Los Angeles County Museum of Art in 2004. RIFIFI, Dassin’s heist film masterpiece, is now available for home viewing in our Virtual Cinema at www.filmforum.org. All rental fees support Film Forum. Photo by Robin Holland.

“I liked you. I really liked you, Macaroni, but you knew the rules.” After Jules Dassin was blacklisted from Hollywood, he went to Europe to see if he could find anyone willing to hire him. Even there, it took some time but eventually, producer Henri Bérard asked him if he would write and direct the adaptation of Auguste Le Breton's novel “Rififi.” Jean-Pierre Melville had been asked prior but gave Dassin his blessing to take it on, and Dassin made the film, now hailed as one of the great crime films of the era. Join us – Pete Wright and Andy Nelson – as we continue our French Crime Film series with Dassin's 1955 film Rififi. We talk about how Dassin came to this project and got it made, changing some unsavory elements of the source material. We look at the nature of the characters and how the story ends, tying it to crime films of the past. We chat about the nature of criminals as protagonists and what that means in context of watching the film. We look at some of the actors and what they bring to the story. We discuss the lengthy robbery sequence in the middle of the film and how well it works to bring out tension in naturalistic ways. And we talk about the look of the story and how it ties into crime and noir elements. It's a fantastic crime film that holds up incredibly well. We have a great time talking about it on this week's show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: Amazon • Netflix Script Transcript Original theatrical trailer Original poster artwork Du Rififi Chez Les Hommes by Auguste Le Breton (French) Flickchart Letterboxd

“I liked you. I really liked you, Macaroni, but you knew the rules.” After Jules Dassin was blacklisted from Hollywood, he went to Europe to see if he could find anyone willing to hire him. Even there, it took some time but eventually, producer Henri Bérard asked him if he would write and direct the adaptation of Auguste Le Breton’s novel “Rififi.” Jean-Pierre Melville had been asked prior but gave Dassin his blessing to take it on, and Dassin made the film, now hailed as one of the great crime films of the era. Join us – Pete Wright and Andy Nelson – as we continue our French Crime Film series with Dassin’s 1955 film Rififi. We talk about how Dassin came to this project and got it made, changing some unsavory elements of the source material. We look at the nature of the characters and how the story ends, tying it to crime films of the past. We chat about the nature of criminals as protagonists and what that means in context of watching the film. We look at some of the actors and what they bring to the story. We discuss the lengthy robbery sequence in the middle of the film and how well it works to bring out tension in naturalistic ways. And we talk about the look of the story and how it ties into crime and noir elements. It’s a fantastic crime film that holds up incredibly well. We have a great time talking about it on this week’s show, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins. Join the conversation with movie lovers from around the world on The Next Reel’s Discord channel! Film Sundries Thank you for supporting The Next Reel Film Podcast on Patreon! Watch this film: Amazon • Netflix Script Transcript Original theatrical trailer Original poster artwork Du Rififi Chez Les Hommes by Auguste Le Breton (French) Flickchart Letterboxd

We return to the films of Jules Dassin (and to the starring roles of Burt Lancaster) with a prison drama that's sort of undermined by Dassin's later pro-cop movie Naked City which we watched a few weeks ago. In that movie cops are good. In this movie prisons are really quite bad. Pat and I certainly don't share Dassin's (or each others') views on cops, but we are much more on board with the idea that prison needs massive reform at the very least. I'll say I'm more extreme than Dassin's imagination could take him. For more information on what I mean there, check out Angela Davis talking to Democracy Now about Prison Abolition.

This week a bask in Jules Dassin's visual record of mid-century New York. Of course it has to come in one of his most pro-America, pro-police works. Not to worry, though, as next week we'll have a very anti-police movie, and in three weeks we'll have Dassin's own ideological answer to this one in the anti-prison film Brute Force. But this week's it's The Naked City, the story that launched a million stories in the form of the police procedural spin-off tv show, and every imitator down the line. Now today there are more fictional murders on New York-based crime dramas than there are actual murders in New York, so isn't that something?

Les cueilleurs de reprises sont de retour ! Le duo La même mais pas pareil / Quoi la Baise s'est transformé en quatuor pour parler de "City of New Orleans" en compagnie des camarades zythologues de Binouze USA !  Entre la Louisiane, Paris et Orléans, on vous parle d'un classique folk/country qui était aussi un train longeant le Mississippi, d'un homme qui a offert sa chanson et une bière, de Joe Dassin et d'un Américain révélé en France. Les ingrédients du jour :  Steve Goodman Alro Guthrie John Denver Willie Nelson Joe le romantique Roger Mason Bonne dégustation et faites tourner la tartine !

“Rififi” loosely defined as  “a rumble among men” or “trouble/violent conflict/show of force” is a 1955 French movie directed by Jules Dassin after he was black listed in Hollywood. The film is based on a portion of a novel by Auguste Le Brenton. Starring Jean Servais as the lead character “Tony” and the other members of the heist crew, Carl Möhner as “Jo”, Robert Manuel as “Mario” and the director himself in the role of “Cesar”, who apparently was paid the equivalent of $8,000 for the roles of Director, Writer, and Actor. The money was extremely well spent as this is considered by many one of the best crime/heist film noir films of all time. Mr. Dassin won the Best Director prize at Cannes in 1995. And the film was nominated for the National Board of Review for Best Foreign Film. The influence this film has on subsequent heist films is clear. Bob also recommends watching “The Asphalt Jungle” for another tightly directed and acted noir crime/heist film that may have had an influence on “Rififi”. We both really enjoyed the movie and would place it near the top of our list as one of the best films we’ve seen.  Just a reminder that we discuss the ending of the films we review and we definitely would spoil the plot for anyone that hasn’t seen the film. So, if you want to watch the film spoiler free and haven’t seen the film we recommend watching it *before* listening to the podcasts. Up next “Zatoichi Challenged”

Dassin could make a noir in his sleep. With Night and the City we think he may have tried to.

Dassin's last film before Blacklist enforced exile to Europe isn't quite Marx, but isn't quite not Marx

Many students move across national borders to attend university.  Although the number of these globally mobile students is small compared to the total number of students enrolled in higher education, there numbers are increasing.   But the patterns are changing, with more regional and south-south mobility. The role of scholarships in promoting these new patterns of student mobility is gaining attention by researchers and development aid alike. My guests today, Joan Dassin and Aryn Baxter, have recently contributed to a new edited collection entitled International Scholarships in Higher Education: Pathways to Social Change, which was edited by Joan Dassin, Robin March, and Matt Mawer. Joan Dassin is a Professor of International Education and Development and Director of the Masters Program in Sustainable International Development at the Heller School for Social Policy and Management at Brandeis University. Aryn Baxter is an Assistant Professor in the Mary Lou Fulton Teachers College and Director of the Mastercard Foundation Scholars Program at Arizona State University (ASU).

We got a real knock out for you sluts out there with this one. https://twitter.com/watchalonepod GLOW - the docu, not the show cuz the show sucks even if Allison Brie shows her tits twice in one episode. Valerian - scifi from Luc Besson, not great, but Cara Delevingne who got fucked on a plane apparently and *kisses fingers* God bless he who rogered. Antonio Campos' Afterschool! Lucky McKee's All Cheerleaders Die! John Waters's Polyester! Lovely Divine and Mink Stole tranny love. Great fuckin flick. Kill By Inches - the Tiny Tailor Slasher Shit you didn't think you needed; it's like Perfume, but instead of cologne murders, it's dick measuring tape murders Child's Play 2 - it's good, but Chucky is a dumb franchise! George Romero may he rise in peace - Bruiser from 2000 and Survival of the Dead from 2009 Eric Rohmer's Love in the Afternoon - gorgeous 1972 French morality play Joseph Losey's 1951 Prowler! Noir goes backdoor. David Lowery's A Ghost Story - really good shit per Josh, won't even watch it per Andrew FF Coppola's Tucker: The Man and His Dream - for lovers of Hudsucker Proxy and sad sacks of shit. The Gymnast - Ned Farr's cishet P90x babe wife plays a bulky lesbian in a loveless het marriage. Free your shackles. War for Planet of the Apes - Gollum does monkey business again, but who can remember anything? Woody Harrelson has to walk around reminding the audience of past two plots out loud. Otto Preminger's Bonjour Tristesse - David Niven, Deborah Kerr and Jean Seberg make and ruin love in the beautiful Mediterranean The Horseman - a forgettable sack of shit starring Dennis Quaid. Do you like theme serial killer movies like Se7en? Then skip this one, cuz it's more of the same! L'eclisse - Antonioni. Andrew hates, Josh loves. L'avventura - more Antonioni, ditto. The Naked Prey - some man shit where Africans hunt a naked white down in the bush for sport. Convincingly, he outplays them all. The Hunter - Andrew nearly showed an emotion talking about this one with Willem Dafoe and Sam Neill; a tale of a man hired to kill the last Tasmanian Tiger. Never on Sunday - Jules Dassin's shitty sex comedy. Skip it and watch classic Dassin like Brute Force. Cosmos - Zulawski's last movie before he croaked. Delirious, hallucinatory, amazing, per Josh. The Verdict - Lumet puts Newman as a shitty lawyer who insists his client go to trial on a med mal case when they'd rather settle. Predictably, problems ensue and the law has its ways with the facts.

Paul and Erin review two films about master thieves pulling off super-complicated heists: Jules Dassin's 1955 French noir classic RIFIFI, and Bruce Willis' ill-fated 1991 vanity project HUDSON HAWK. Plus: our quick takes on WONDER WOMAN, THE LOVERS, HOUNDS OF LOVE and RAW.

Episode 069 - Rififi Episode 069 of the Stinking Pause classic movie podcast is available now. In this episode Scott and Charlie review the 1955 classic ‘Rififi' directed by Jules Dassin. We also take a look at one of Dassin's other movies, Night and the City starring Richard Widmark and Gene Tierney. Scott pays tribute to Gene Wilder and there's news of a new Stinking Pause production – The Rainbow Valley Podcast. This and previous episodes can be found at: iTunes Stitcher Radio Spreaker podcast.com Acast Podcast.party iheartradio Follow us on Twitter @StinkingPause or join the Facebook group Emails and mp3's to thestinkingpause@gmail.com Rainbow Valley is available on iTunes and at the website rainbowvalley.org   Thanks for listening Scott and Charlie

The Criterion Collection, the last vestige of truly collectible DVD and Blu-Ray movies in existence. These are well produced, fancy pants editions of important and interesting films for the discerning film lover. We continue our journey through Jim's collection of movies with... Week 17: Rififi Spine Number: 115 Director: Jules Dassin Genre: Heist How much money do you need to make a masterpiece? Well, back in 1955 blacklisted filmmaker Jules Dassin wrote, directed, and had a role in one. The budget? $200,000. Roughly $1.7 million today. Most big budget films spend more on catering. Dassin himself wrote the script in six days, played the safe cracker, and directed it for a fee of $8,000. That's roughly $71,000 today. Most filmmakers wouldn't return a phone call for that much. Rififi is an absolute landmark heist film. Lean, efficient story telling with an amazing visual aesthetic, engaging characters and one of the best heist scenes in film history. How good is it? In the book that the film is based on, the heist takes up 10 out of 250 pages. In the film it's almost a half hour. With no dialogue. And no music. Just a perfectly planned and executed heist. This movie is so God damned cool it's almost frustrating. Again, this is tight, elegant film making at its best. It's cool and complex, but still completely manageable. Some films make the collection and you wonder why, other make the collection, and when you see them you just wonder why it took so long to get around to seeing them. So do yourself a favor and watch this movie, then join us in our discussion of this absolute masterpiece. Next week: Spine Number 119: Withnail and I Be ready to have a drink or two for this one. Also, check this out. The Life Masters is now it's own show with its own site and own dedicated feed. That's right, we have two completely different shows! Right now check it out at www.thelifemasters.podbean.com. It will also be on iTunes as soon as the feed is verified. http://fantasymovieleague.com/ Looks like Summer Movie League has officially become Fantasy Movie League. It looks quite fun. Here's how it works. You have an 8 screen theater. Every week you pick movies and have a budget/salary cap you have to stay under. Then you compete against other theaters in your league. It's fantasy football for movie people. Our league is Film Thugs 2015 and the password is Porterhouse. And remember, you can be a part of the show any time you wild like. How's that? All you have to do is call or e-mail us. If you live in the US, or any place that makes calling the US easy, just dial 512-666-RANT and leave us a voicemail. We will read the Google Voice transcript and play your message. It's both funny AND informative. If you live outside the US you can call us on Skype at The_Film_Thugs. You can leave a message, or someone might actually answer. E-mail us at thefilmthugs@gmail.com and we will read/play whatever you send us, or you can e-mail thugquestions@gmail.com to be part of  an upcoming "Ask the Film Thugs" show, where we answer questions on any subject without having heard them first. Also, we are on twitter @thefilmthugs and on Facebook and Vine. You can also click on one of our sponsor links below and THEY will pay us. That's right. You won't have to pay a PENNY extra, and Amazon/Onnit/Teefury will give us a little taste. Also, be sure to check back often for our new endeavor The Life Masters, where we answer questions to other advice columnists. Thanks for listening, and until next week... Jim out.

Once a successful Hollywood director, Connecticut-born Jules Dassin turned to Europe to revive his film career after being blacklisted in the years after WW2. Here are three of his darker films from his Hollywood noir days.

Du choeur virtuel, du Thriller en percussions, du chanteur classe, du JCDassin, du chômeur branleur, du Beigbeder ado, des caresses et bise à l'oeil, du message journelien :c'est le Walter's Weekly Show, la Semaine de Walter, n°32, et attention aux Meuporgs !

Hollywood began tearing itself apart with accusations of Communism in 1947, and in 1949 American director Jules Dassin was blacklisted. In order to pursue his craft he fled to France, where he cobbled together a small budget and a motley crew of B stars. Together they created the heist masterpiece Rififi, the tale of a ragtag international band of thieves who use inferior tools and superior know-how to pull off the job of a lifetime. They are in the clear until somebody rats and then one by one they are hunted down. The real crime is that Dassin had to fashion this allegorical gem while in exile. This podcast is brought to you by Clute and Edwards of www.noircast.net. To leave a comment on this episode, or make a donation to the podcast, please visit "Out of the Past: Investigating Film Noir" at outofthepast.libsyn.com.