A small-time thief steals a car and impulsively murders a motorcycle policeman. Wanted by the authorities, he reunites with a hip American journalism student and attempts to persuade her to run away with him to Italy.
Hitman Jef Costello is a perfectionist who always carefully plans his murders and who never gets caught. One night however, after killing a night-club owner, he's seen by witnesses. His efforts to provide himself with an alibi fail and more and more he gets driven into a corner.Written by
Leon Wolters <wolters@strw.LeidenUniv.nl>
This film starts off with the same sound like Sergio Leone's 'C'era un volta il west', but it's just that here the sound is made not by a plate, but a canary, the cold-blooded killer's canary.
This film was made in 1967, the French nouveau vague already apparent all over the place, but with much more subtle undertones than, say, a work by Truffaut.
No, Melville's films were old-school, but at the same time revolutionary, in a delicate way. Take for example the 'chase' scene through the Metro. Practically nothing happens: there are no gunfights, no combat sequences, perhaps just a small chase. But it is Melville's camera and Delon's inimitable performance that keep the audience mesmerized all the way.
The camera practically flirts with the audience throughout the whole movie, picking the most interesting angles and achieving so much practically without any effort. Delon's character changes his expression only once or twice during the movie, shoots faster than even Leone's gunslingers and never forgets to feed his canary. To me, one of the most accomplished antiheroes of the whole genre.
The dialogue is barely there, but when it is, then it's something you'd probably wish you would have come up with yourself. It is a minimalist work that achieves the absolute maximum. Simply put: one of the best crime noirs ever made.
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