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 »
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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>
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.
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