Did Rififi... really mean trouble?

This paper uses archival research of American trade magazines to provide a chronicle of the articles concerning the worldwide and United States releases of Jules Dassin’s 1955 French heist film Rififi. It explores the popular critical discourses published by journalists, critics, editors, and readers over the course of three years in light of the fact that the film was made by an American director who was blacklisted as a Communist by the House Un-American Activities Committee. In addition, the study highlights Rififi’s relevancy with the evolving distribution business relationship between the United States and the European countries across the Atlantic.