With forty-two years of delay, the case of Jacques Cassandri has begun to be judged in Marseille, for presenting himself without evidence as “brain” of the French version of one of the numerous “robberies of the century” in France, the United Kingdom and Brazil. .

For several decades, the brain and author of the bank robbery of Société Générale de Niza, consummated between July 16 and 20, 1976, was Albert Spaggiari, a much appreciated legend of French delinquency. A long decade ago, director Jean-Paul Rouve devoted a well-known film “Sans arme, ni haine, ni violence” to the figure of Spaggiari and his French version of “theft of the century”. Numerous literary versions of the figure of Spaggiari, a legend, and of the theft of Société Générale de Niza have been published.

Believing that the crime had expired, Jacques Cassandri decided to publish a book telling his own very literary version of that legendary theft. Cassandri told in his own way the French version of the “robbery of the century”, attributing himself all the “merits”, in the same tradition of the robbery of the train of Glasgow (1963), the robbery of the Isabella Stewart Gardner Museum of Boston (1990) , the robbery of the Harry Winston Jewelry of Paris (2008), among other robberies of the century.

It is attributed to Cassandri the intention of having written a “novel” destined to become a film, in the manner of the numerous film versions of the various “robberies of the century.” Pathetic ingenuity: readers close to the police discovered, astonished, many details of the crime that nobody knew, forty years later.

Cassandri lived several decades between anonymity and the golden legend, with an apparently substantial property and furniture heritage. Patrimony that the justice could consider tied in some way to the way of the robbery of the Bank of the Société Générale de Niza. In his defense, his lawyers estimate that Cassandri is prosecuted for having written a “novel,” the account of his French version of “theft of the century.”

Justice hopes to separate the “novel” from the theft, of which several parallel stories, always fictional, have already been written.

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