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Classe Tous Risques (1960)

Classe tous risques (original title)
Not Rated | | Crime, Drama, Romance | 1 April 1960 (Italy)
Abel Davis is a criminal, hunted in Italy. The police are closing in, so he and his pal Raymond arrange to flee back to France with Abel's wife, Thérèse, and their two young sons. Abel and ... See full summary »

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(novel), (adaptation) | 3 more credits »

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Cast

Cast overview, first billed only:
...
...
...
...
Arthur Gibelin
Michel Ardan ...
Simone France ...
Thérèse Davos
Michèle Méritz ...
Sophie Fargier
...
Evelyne Ker ...
La fille de Gibelin
Betty Schneider ...
La petite bonne
France Asselin ...
...
Le patron de l'agence privée (as J.P. Zola)
Sylvain Levignac ...
Le détective de l'agence privée
Jeanne Pérez ...
Jacqueline Chapuis
René Génin ...
Chapuis
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Storyline

Abel Davis is a criminal, hunted in Italy. The police are closing in, so he and his pal Raymond arrange to flee back to France with Abel's wife, Thérèse, and their two young sons. Abel and Raymond commit a brazen robbery to get funds, killing two men; in the escape, more die. Abel arrives in Nice with the boys, calls his pals in Paris, and gets the brush-off. Reluctantly, they send a stranger, Eric Stark, to bring Abel to Paris, but he's getting the message he's on his own. Honor, friendship, and debt now count for little. What can Abel, a wanted man with two small children and only Stark as a friend, do? "Never give ground," he tells Eric, but how long can he hold to his code? Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis


Certificate:

Not Rated | See all certifications »

Parents Guide:

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Details

Country:

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Language:

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Release Date:

1 April 1960 (Italy)  »

Also Known As:

Classe Tous Risques  »

Filming Locations:

 »

Box Office

Opening Weekend:

$11,945 (USA) (18 November 2005)

Gross:

$94,552 (USA) (21 July 2006)
 »

Company Credits

Show detailed on  »

Technical Specs

Sound Mix:

(Western Electric-Optiphone)

Aspect Ratio:

1.66 : 1
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Featured in Claude Sautet ou La magie invisible (2003) See more »

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User Reviews

 
Better than Melville.
2 January 2004 | by See all my reviews

"Classes tous risques" is one of the best "gangsters" films noirs France has ever produced.Perfect cast :Lino Ventura,a young Jean -Paul Belmondo (who made "a bout de souffle",Godard's thing, the same year),Marcel Dalio and a fine supporting cast ;brilliant script by José Giovanni -who also wrote "le trou" Becker's masterpièce the same year!What a year for him!;wonderful black and white cinematography by Ghislain Cloquet.And taut action,first-class directing by Claude Sautet,who surpasses Jean-Pierre Melville .Whereas the latter films gangsters movie with metaphysical pretensions,which sometimes lasts more than two hours,Claude Sautet directs men of flesh and blood,and the presence of the two children adds moments of extraordinary poignancy which Melville has never been able to generate .And Sautet avoids pathos,excessive sentimentality:the last time Ventura sees his children,coming down in the metro (subway)is a peak of restrained emotion.

Ventura portrays a gangster whose die is cast when the movie begins.He thinks that he can rely on his former acquaintances ,but they are all cowards -we are far from manly friendship dear to Jacques Becker ("touchez pas au grisbi" ) which Melville was to continue throughout the sixties-sometimes abetted by mean women (the film noir misogyny par excellence),living in a rotten microcosm,ready to inform on -we are far from Jean Seberg's simplistic behavior in Godard's "opus"-.

Cloquet works wonders with the picture:the scene on the beach in a starless night when the two children see their mother die after the shoot-out with the customs officers is absolutely mind-boggling.

There's a good use of voice-over,which Sautet only uses when necessary;thus ,the last lines make the ending even stronger than if we have attended the scenes.

Claude Sautet had found a good niche ,and he followed the "classes tous risques" rules quite well with his follow-up "l'arme à gauche" (1965) which featured Ventura again and made a good use of a desert island and a ship.Had he continued in that vein,France would have had a Howard Hawks.In his subsequent works ,only "Max et les ferrailleurs " (1971) showed something of the brilliance he displayed in the first half of the sixties.He had become ,from "les choses de la vie" onwards,the cinema de qualité director who used to focus on tender-hearted bourgeois in such works as "Cesar et Rosalie" (1972),"Vincent François ,Paul et les autres" (1974) or "Mado" (1976)


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