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 ...
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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 »
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 »
A French UN delegate has disappeared into thin air, sending reporter Moreau (Jean-Pierre Melville) and hard drinking photographer Delmas (Pierre Grasset) on an assignment to find him. Their only lead is a picture of three women.
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 »
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 »
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 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 Le Samouraï (1967). See more »
Films are often discussed in terms of genre. Most people view genre films as something that relates to Hollywood. Musical, Film Noir, Western... European cinema at the same time is often remembered as the cinema of the artist where each film is a one off event where the "message" transmitted dictates the visual form rather than its production as a generic film.
Nowadays the concensus is that the best of the Hollywoods generic films, such as Singin' in the Rain, The Big Sleep or The Searchers, stand comparison to the canon European filmmaking. However little attention has been given to generic films made in Europe.
If we leave aside national cinemas and genres and turn our attention to "Hollywood" genres in europe we find a couple of overlooked geniuses of cinema like Jacques Demy, Sergio Leone and the director of Un Flic: Jean- Pierre Melville.
They made generic films with a European twist: they borrowed from their more recognised colleagues the practice of only showing the essential. They learned their genres so well they were able to see what was essential. However where Godard or Bresson tried to understand what makes film a film and to make viewers aware of them watching a film Melville and Demy aimed at finding out why on earth Hollywood genre films can be so entertaining.
It is so difficult to understand why the French critics spend years of examining Hitchcock and legitimising our pleasure of watching genre films but totally neglect Melville and Demy.
As far as Un Flic goes, it is just a great film. I dare anyone who likes film noir to watch the opening bank robbery scene in the deserted Riviera holiday town in the middle of winter with the robbers' black buick sedan gliding on the rainy boulevard and not feel compelled to see the rest. Pretty much the same goes with the rest of his mature output, too.
Do yourself a favour and see this. And the Umbrellas of Cherbourg, too. (that's by Demy)
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