It's a mystery to me as to why I haven't caught up to this masterful 50s caper film  turned brooding noir until now, but I'm certainly glad to report that it didn't disappoint. I haven't seen any of Jules Dassin's American films for several years but based on this I'll probably be going back and re-watching "Brute Force" and "Night and the City" quite soon.<br /><br />Jean Servais, a name unknown to me but a face rather familiar in its world-weariness and coldness, has recently completed a lengthy stay in prison and as is the way in these films (hey, there wouldn't be a story otherwise) isn't coping well with the straight life. An opportunity presents itself: an easy multi-million-dollar jewel heist that can be done at night with no fear of discovery by a few men. The taut filming of the robbery, half an hour of total silence, is what people most remember about the film of course, and indeed it's pretty remarkable; but I liked the half-completed location of the final shootout, once the robbery has gone sour thanks to the big mouth of one of the thieves; the excellent portrayal gritty sides of Paris in stark black and white; and Servais' channeling of both Eddie Constantine and Humphrey Bogart in his spare but brutal performance.<br /><br />Perhaps it's a bit too sentimental in the end, but this is one of those classics that really does live up to its reputation just as pure entertainment even if what it has to say about the human condition isn't exactly deep or thought-provoking; George Auric's at turns modernist, romantic, and jazzy score is another highlight.