Corey is a cool, aristocratic thief, released from prison on the same day that Vogel, a murderer, escapes from the custody of the patient Mattei, a cat-loving police superintendent. Corey ... 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 »
The early life and career of Vito Corleone in 1920s New York is portrayed while his son, Michael, expands and tightens his grip on his crime syndicate stretching from Lake Tahoe, Nevada to pre-revolution 1958 Cuba.
Corey is a cool, aristocratic thief, released from prison on the same day that Vogel, a murderer, escapes from the custody of the patient Mattei, a cat-loving police superintendent. Corey robs Rico, his mob boss, then enlists Vogel and an ex-police sharpshooter, Jansen, in a jewel heist. While Corey is harried by the vengeful Rico, Mattei pressures Santi, a nightclub owner and pimp, to help him trap the thieves. Over all hangs the judgment of the police directeur, that every man is guilty. Written by
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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Jean-Pierre Melville is one of the most slept on directors of all time. A little too old to ride the crest of the French New Wave, Melville was respected by Godard, Truffaut and the rest but never caught the attention of the international film community like those who followed him did. Melville's crime tales are directed perfectly straight forward without the hipness that permeated the French New Wave . His protagonist of choice Alain Delon had the ability to portray either cop or crook and the audience would always side with him. "The Red Circle," is one of Melville's best collaborations with Delon--not as good as "Le Samourai" (1967) but superior to "Un Flic" (1971). Nowadays cats tend to say "they don't make movies like that anymore" but "they" weren't making films like Melville during his time--over thirty years ago. Don't sleep on Melville, he's the real deal. To put it simply, Melville was and still is the man.
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