(us) wrote: love this movie, well written, whenever i watch it its like a emotional roller-coaster, totally sucks me in. Korean classic
(jp) wrote: Melville's farewell not only to the crime genre and his collaboration with the great Alain Delon, but to cinema itself, was the last proof that shows that Melville was still at the top of his game.The story is deceptively simple, goes by the book, opens as most films of the genre do, closes like few of them do, has a predictable climax, and is one of the most important examples of neo-noir, including the relentless, determined cop, the beautiful blonde femme fatale and the typical friendship connection between cop and crook. What are, then, the motivations for watching the film? Mellvile's scope, of course, the jazzy score and the performances of the terrific cast.Le Cercle Rouge is famous for keeping the number of important characters small, and therefore memorable, but it is even more famous for featuring one of the best heist scenes in the history of cinema, which itself is a homage to Dassin's Rififi (1955). Pacing, attention to detail, suspense, silence, imminent danger: Melville transformed robbery into art, something only achievable in a medium that portrays fiction. Un Flic is a lesser effort, but tries to restore that already explored tradition. The number of characters is small, all film noir trademarks are there, Delon shines, Deneuve's look is enough to hypnotize you, and the aforementioned attention to detail is expressed in the train operation sequence, which again keeps the dialogue to a minimum and shuts down the musical score. Although I mentioned that the film opens like most do crime flicks do, that was only thematically. The execution is unparalleled. Both scenes feature suspense at its best.On the other hand, the term "lesser" unfortunately involves some undeniable issues. For starters, the love triangle between Delon, Deneuve and Crenna is half-baked, and is used as a very brief excuse to pull off your typical noir plot description. This issue is left unfinished and the viewer is left scratching his/her head wondering what was the use of putting them in a love triangle in the first place. No satisfactory resolution is given post-climax. That was a slap to our faces. Secondly, the friendship between Delon and Crenna is also left as something implied. Normally, these crime plots carry some moral ambivalence conflict in the "good" protagonist. By the time we get to the ending, we realize we are in the ending and this flank was left uncovered. Finally, it is too short! Everything had the potential of being expanded to the average length of Melville's other films, some time that could have also been used for fixing the two previous issues. There was not enough interaction with both the good and the bad sides, and the badassery of Delon was there, but not entirely exploited.Still, maybe those were signs indicating that Melville was decaying and retired at the proper time. That's a very bold and maybe disrespectful hypothesis, something far beyond my intentions, but we must accept this is a replica of his famous stunts in a smaller scale. What remains is a delightful neo-noir contribution which has been left underrated because of its overshadowed status by greater films in Melville's enviable canon more than by its inferior quality, but comparable entertainment value.82/100
(fr) wrote: The Marx Bros. usually leave me in stitches, but this one was a bit of a miss. This may be because the plot was very non-existent, and no villain. Some of the jokes don't hit their mark and it needed more plot.