I saw this at London's National Film Theatre a couple of nights ago. It's being hailed as a rediscovered classic. Me, I'd say it was an interesting failure.
The downside. It feels very long. Longer than it's two hours and twenty minutes. You become aware after a while that you're watching a film that needs a tighter script and better editing. The plot is also full of holes. It takes something greater than the normal suspension of disbelief to buy the coincidence of Gian-Maria Volonte's escaped criminal happening to hide in the boot of the car just purchased by newly released ex-con Alain Delon. And what happened to the subplot of the mafia boss chasing Delon for revenge? It looks as though it's going to go somewhere near the end and then that whole side of the story just disappears. And what makes Volonte suddenly turn up at the end to try and save Delon? It just doesn't make any sense. As for the philosophy! The "all men are born innocent, but it doesn't last long" speeches are laughably silly. But I don't think they're meant to be.
The upside? Early morning Marseilles and late night Paris look wonderful. The acting, especially from Yves Montand and Andre Bourvil, is first rate. The robbery sequence is exciting (though I've seen better). And Alain Delon. My god he's good in this. I've never seen the man have such presence. You just can't take your eyes off him.
Melville never really made a true classic (and I think I've now seen all of his main contenders). But I suspect that if you could cut and paste together bits of Le Doulos, Le Samourai, Le Cercle Rouge and the tremendous opening scene of Un Flic, you'd have one of the greatest gangster movies of all time.
The downside. It feels very long. Longer than it's two hours and twenty minutes. You become aware after a while that you're watching a film that needs a tighter script and better editing. The plot is also full of holes. It takes something greater than the normal suspension of disbelief to buy the coincidence of Gian-Maria Volonte's escaped criminal happening to hide in the boot of the car just purchased by newly released ex-con Alain Delon. And what happened to the subplot of the mafia boss chasing Delon for revenge? It looks as though it's going to go somewhere near the end and then that whole side of the story just disappears. And what makes Volonte suddenly turn up at the end to try and save Delon? It just doesn't make any sense. As for the philosophy! The "all men are born innocent, but it doesn't last long" speeches are laughably silly. But I don't think they're meant to be.
The upside? Early morning Marseilles and late night Paris look wonderful. The acting, especially from Yves Montand and Andre Bourvil, is first rate. The robbery sequence is exciting (though I've seen better). And Alain Delon. My god he's good in this. I've never seen the man have such presence. You just can't take your eyes off him.
Melville never really made a true classic (and I think I've now seen all of his main contenders). But I suspect that if you could cut and paste together bits of Le Doulos, Le Samourai, Le Cercle Rouge and the tremendous opening scene of Un Flic, you'd have one of the greatest gangster movies of all time.