Bank robbery in small town ends with one of the robbers being wounded. The loot from the robbery is just a asset for the even more spectacular heist. Simon, gang leader and Paris night club... See full summary »
In a snowball fight between schoolboys the handsome Dargelos hits the chest of Paul, who drops unconscious to the ground. Paul has a deep affection for Dargelos, and later denies that there... See full summary »
This movie depicts the authentic story of the hunt for the dangerous criminal Emile Buisson, who escaped from prison in 1947. During three years Buisson manages to hide from detective ... See full summary »
Her youth has been spent working for a farm family, being raped by father and son, marrying the son who has now left her a happy widow. She is happy because World War I is over and she is ... See full summary »
Doctors at a rejuvenation clinic discover a formula that will prevent aging. However, it involves harvesting the blood and body parts of young men, a process that the doctors aren't particularly averse to.
After serving together in the French Foreign Legion, a mercenary and a doctor leave the service and go their separate ways. Later, they are reunited by a coincidence. The doctor has made a ... See full summary »
Julien and Agatha appear to be a great couple, loving, caring and seem to feel complete with each other. Though Julien often gives the impression of being interested in other girls, his ... See full summary »
Bank robbery in small town ends with one of the robbers being wounded. The loot from the robbery is just a asset for the even more spectacular heist. Simon, gang leader and Paris night club owner, must also deal with police comissaire Edouard Colemane, who happens to be his good friend. Written by
Dragan Antulov <email@example.com>
While Alain Delon's character, Commissaire Coleman, examines a crime scene, we see a brief shot of a wall on which are inscribed several names including the one of his character in one of his previous collaborations with Jean-Pierre Melville: Jef Costello, the "hero" of The Samurai (1967). See more »
This is a film so good, in how it understands the minutiae of film, the mechanics as it were, and done with so much straight-forward conviction that it amazes deeply.
It is lean, the form refined, like a piece of wood patiently chiseled by the ebbs.
So as with previous Melville films, it is distant, surely cold, clinical business. It's about characters detached from the world they experience, content to glide through without attachments. A world as grey, dreary and sullen as the faces of the characters, one reflected in the other. The pace is minimalist and monotonous, the movie plodding along in a steady and unflagging hypnosis as if it does not progress at all.
It seems to hang suspended in the middle distance, the plot laconic in what it reveals as much as the dialogue, yet it flows towards its inevitable and cold end in an unnoticeable succession of undeviating changes. A phone-call, a newspaper clipping, a man setting down to eat in a restaurant. Before you know it a man is getting shot.
It's part slow erotic foreplay about cinematic crime, remember the scene with Deneuve and the gun, and part a feel that is the present moment unfettered by any including cinematic baggage. You just watch.
13 of 17 people found this review helpful.
Was this review helpful to you?