Bank robbery in small town ends with one of the robbers being wounded. The loot from the robbery is just an asset for the even more spectacular heist. Simon, gang leader and Paris night ... See full summary »
Bob, an old gangster and gambler is almost broke, so he decides in spite of the warnings of a friend, a high official from the police, to rob a gambling casino in Dauville. Everything is ... See full summary »
Gustave Minda, better known as Gu, a dangerous gangster, escapes from jail. He goes to Paris to join Manouche and other friends, and get involved in a gangland killing. Before leaving the ... See full summary »
Burglar Maurice Faugel has just finished his sentence. He murders Gilbert Vanovre, a receiver, and steals the loot of a break-in. He is also preparing a house-breaking, and his friend ... See full summary »
1941 in a small town in Nazi occupied France. Against the will of its elderly male and his adult niece residents, the Nazis commandeer a house for one of their officers, Lt. Werner von ... See full summary »
On the eve of his release after five years imprisoned, the thief Corey is contacted by one guard of the prison that offers him a jewelry heist. However Corey seeks out his former boss Rico and steals money from him. Rico sends two gangsters to hunt Corey down and retrieve the stolen amount. Meanwhile the criminal Vogel is transported by train by the Police Officer Mattei and succeeds to escape. Corey drives from Marseille to Paris and Vogel hides in the trunk of his car. Corey finds him but does not object to ride Vogel to Paris hidden in the trunk. When the gangsters sent by Rico cut in Corey's car, Vogel saves him from the criminals, but Corey loses the money. Without money, Corey decides to heist the jewelry with Vogel and invites the former police detective Jansen to team-up with them. The trio executes a perfect heist but Rico is seeking revenge and Mattei is an unethical but efficient police officer capable to use any means to resolve the case. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
There's a cut as Commissaire Mattei turns on the lamp in his apartment. The cat beside the green chair disappears and the cat in it switches from facing sideways to facing the camera. See more »
Between shooting two men six feet away and hitting a target at 100 feet there's a certain difference. It's the difference between an amateur and a professional. And, despite all appearances, I'm not professional.
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While "Le Samourai" had one great lead performance, this has four
While its not the masterpiece that "Le Samourai" was (I've accepted by now that Jean-Pierre Melville was never able to top that classic), I find "Le Cercle Rouge" to be much better than "Bob le flambeur". I felt that "Bob le flambeur" was an above-average and influential b-film, but still a b-film. "Le Cercle Rouge" proves that as a filmmaker Melville improved as he continued. John Woo is a massive fan of Melville, even though their film-making style differs. While Woo uses fast-motion for shootouts and an operatic sense of violence, Melville has a minimalist style that suits him very well. He wasn't interested in creating quickly paced action films but more meditative crime thrillers. In that department, he was one of the best.
"Le Samourai" is still his best work, mainly because it has more character development than this, but on a technical level they're probably equal. Besides, while "Le Samourai" had one great lead performance, this has four. Alain Delon is once again an ultra-cool gangster on the prowl - this man's silence is fascinating. Bourvil is superb as the police inspector on the case of the heist and escaped con. He steals every scene he is in, and proves that he was a skilled dramatic actor (in France he is best known as a slapstick comedian in the mode of Buster Keaton). Yves Montand is great also as the shaky and paranoid gun expert. Gian Maria Volontè (a regular in spaghetti westerns) is overshadowed by his three co-stars but still does an adequate job.
Once again, Melville's direction is superb. Taking equal influence from both American crime thrillers and the French new wave, the man always seems to know the best shots and angles to choose. This is more slowly-paced than most caper flicks, but it really pays off by the end. "Le Cercle Rouge" is a bit short of being an absolute classic, but is still one of the best heist flicks ever made. Tarantino must've seen this before making "Reservoir Dogs". (8/10)
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