24 Hours in the Life of a Clown

 

Written, narrated, and directed by Jean-Pierre Melville, Vingt-quatre heures de la vie d’un clown (24 Hours in the Life of a Clown) is a short film about the day in the life of a clown as he deals with his daily routine and other things including a new partner. Starring Louis Maiss and Beby. Vingt-quatre heures de la vie d’un clown is a compelling short film from Jean-Pierre Melville.

The film follows a day in the life of a clown who is first seen in the aftermath of a performance as he and his new partner remove their makeup and get ready to go back home. It is a film with a simple premise as it follows the clown known as Beby as he goes on his daily routine while dealing with the few things in his life he complains about. Along with his new partner in Maiss (Louis Maiss), the two figure out new things to bring into their act as they would go in the streets of Paris to watch whatever they can find. Jean-Pierre Melville’s direction is largely straightforward as he would do a lot the narration while would often shoot everything Beby does to prepare his performance in great detail as well as what Maiss would do whenever he’s not flirting with a female performer. A lot of Melville’s compositions are straightforward as the first and last shot of the film is at a carousel as it would pan into circus and vice versa for the end. Even with the wide shot of the actual performance that Beby and Maiss would create with a lot of medium shots being used for some of the intimate moments in the film.

Cinematographers Andre Villard and Gustave Raulet do brilliant work with the film’s black-and-white photography in maintaining a low-key yet natural look for the first and final shot of the film while using some stylish lighting for the scenes in the circus. Editor Monique Bonnot does excellent work with the editing as it is largely straightforward with a few rhythmic cuts to play into Beby’s work before his performance. The film’s music by Henri Cassel is amazing for its playful score for the circus performance while emphasizing on a somber piece for some of the dramatic moments. The fantastic performances of Beby and Louis Maiss are a joy to watch with the former being this clown who is dedicated to his art and the latter is a newcomer who respects the former while being aware of the collaborator he’s replaced.

Vingt-quatre heures de la vie d’un clown is a superb short film from Jean-Pierre Melville. It is a film worth seeking out for anyone who is interested in the works of Melville as it would play into his meticulous approach to detail as it would be a common theme in his later films. In the end, Vingt-quatre heures de la vie d’un clown is an excellent film from Jean-Pierre Melville.

Jean-Pierre Melville: Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Magnet of Doom - Le deuxieme souffle - Le Samourai - Army of Shadows - Le cercle rouge - (Un flic)

© thevoid99 2022

2022 Blind Spot Series: Army of Shadows

 

Based on the novel by Joseph Kessel, L’Armee des ombres (Army of Shadows) is the story of various individuals in the French Resistance during World War II as they deal with the sacrifices and struggles during the war against Nazi Germany. Written for the screen and directed by Jean-Pierre Melville, the film is a study of the live in the Resistance as well as what people had to do to fight against Nazi Germany as well as making uneasy decisions in the war. Starring Lino Ventura, Paul Meurisse, Jean-Pierre Cassel, and Simone Signoret. L’Armee des ombres is a rapturous and chilling film from Jean-Pierre Melville.

Told in the span of a year from 1942 to 1943 in Vichy France during World War II, the film follows the lives of a few individuals who are involved in the French Resistance as they deal with fighting and scheming against Nazi Germany while also making uneasy decisions. It is a film that explore a few key individuals who are part of this resistance against the Nazis as they all have to make uneasy decisions as it would involving having to kill those who become a liability in exposing the Resistance. Jean-Pierre Melville’s screenplay is straightforward in its narrative yet it has strands of characters it follow with a Resistance leader in Philippe Gerbier (Lino Ventura) who is first seen arriving at a prison camp where he is later transferred to the Gestapo only to escape as he runs a network with longtime friend Felix Lepercq (Paul Crauchet), a burly veteran in Guillaume Vermesch aka Le Bison (Christian Barbier), and a young recruit in Claude Ullmann aka the Mask (Claude Mann). The first act is about Gerbier’s brief time in prison, his escape, and also uncovering a traitor prompting him to take action.

The second act is about an unexpected meeting between Lepercq and a former pilot in Jean-Francois Jardie (Jean-Pierre Cassel) whose older brother is the philosopher Luc Jardie (Paul Meurisse) whom Gerbier admires. Jean-Francois would also gain the support of a woman in Mathilde (Simone Signoret) who would become part of Gerbier’s network and later run things during the third act when Gerbier is captured. Still, there are a lot of complexities in the film’s second half about the demands of being in the Resistance but also the fact that someone can’t carry any sentimental value as it would have them link to family who might know something or be used as blackmail. Even as a few would be captured and endure brutal torment by the Nazis as it play into how dangerous things were during Nazi Germany’s occupation of France.

Melville’s direction is entrancing in its presentation as it is shot on various locations in France including parts of Paris including a shot of the Arc de Triomphe where Nazi soldiers are marching in the foreground with the Arc in the background. Melville’s direction definitely emphasizes less on many of Paris’ familiar sites in order to create an atmosphere of a world that is bleak and intense. Melville’s usage of the wide and medium shots do play into the world that is Vichy France where there is a lot of attention to detail in the prison camps, the prison cells, and other places as location is key to the film. Notably in the scene where Gerbier first escapes and then hides at a barbershop where a barber (Serge Reggiani) would help him as it helps set a tone for some of the moments of suspense. One of which include Gerbier trying to get aboard a British submarine to meet with British officials in aiding the Resistance as well as the return back on plane where they had to endure anti-aircraft attacks. There are also these elements in the direction such as a scene where Jean-Francois is stepping out on a train as he is carrying something important to the Resistance as he has to find a way to pass the Nazi guards.

Melville also maintains some offbeat elements such as Gerbier in London where he finds himself in a dancehall where British military personnel are dancing while bombs are falling around them as well as a scene in a prison where the Nazis give the prisoners a chance to survive. There are also these intense moments where Melville would use close-ups as things do intensify in the third act as it relates to not just setbacks and uneasy decisions but also what is at stake for the Resistance. Even as things get personal and an air of uncertainty emerges into who to trust and how the Resistance can move forward. Notably as the climax and its aftermath is about all of the uneasy decisions one have to make during war and the sacrifices they are forced to make to free their own country from the hands of another. Overall, Melville crafts a gripping and intoxicating film about the life of a few individuals working for the French Resistance.

Cinematographer Pierre Lhomme, with additional work from Walter Wottitz, does amazing work with the film’s cinematography with its emphasis on natural lighting along with soft light for some scenes including its emphasis on grey and blue colors to help set a visual tone for the film. Editor Francoise Bonnot does brilliant work with the editing with its stylish usage of transition wipes, jump-cuts, and other stylish cuts to help play into the suspense and drama. Art director Theobald Meurisse and set decorator Roger Volper do excellent work with the look of the prison cells, the houses the characters hide out at, and some of the places they go to. Costume designer Madame Colette Baudot does fantastic work with the costume as it does bear some style with the men wearing suits as well as the uniforms the French police and the Nazis wear with Mathilde wearing all sorts of clothes including a nurse’s uniform during an attempted prison break.

The makeup work of Maud Begon is terrific for the way two major characters look following their interrogations with the Nazis in how badly they were beaten by them. Sound designers Jacques Carrere, Alex Pront, and Jean Neni, with sound editing by Robert Pouret, do superb work with the sound in the way gunfire sounds as well as these scenes where it revolves around the location to play into the suspense. The film’s music by Eric Demarsan is incredible for its eerie music score with brooding string arrangements as well as its usage of an organ to help maintain a suspenseful mood as it is a highlight of the film.

The film’s marvelous cast feature some notable small roles from Adrien Cayla-Legrand as Charles de Gaulle, Nathalie Delon in an un-credited appearance as Jean-Francois’ date at a bar, Anthony Stuart as a Royal Air Force major, Colin Mann as a British pilot who gives Gerbier instructions on his return to France via parachute, Albert Michel as a policeman at a train station, Alain Mottet as a commander at a prison camp, Serge Reggianni as a barber who helps hide Gerbier following his prison escape, Alain Libolt as a young man who is revealed to be a traitor to the Resistance, Jean-Marie Robain as a baron who aids the Resistance in giving them a temporary home base and such, Denis Sadler as a Gestapo doctor, and Andre Dewavrin in a brief appearance as himself in the role of a Resistance colonel. Christian Barbier and Claude Mann are superb in their respective roles as the Bison and the Mask as two members of the Resistance who take part in some of the killings and such with the former being the most loyal including towards Mathilde while the latter is a newer recruit who proves to be resourceful.

Paul Crauchet is fantastic as Felix Lepercq as an older member of the Resistance who is close with Gerbier as he would later be captured by the Nazis and endure some of the most physical brutality in their interrogation methods. Simone Signoret is amazing as Mathilde as a member of the Resistance who helps in organizing things including an attempted prison break for Lepercq as well as other things as she proves to be loyal despite her own faults as it relates to her life at home. Jean-Pierre Cassel is excellent as Jean-Francois Jardie as a former pilot who joins the Resistance while giving Gerbier access to his older brother only to find himself at odds with some of the ideals of the Resistance. Paul Meurisse is brilliant as Luc Jardie as a philosopher who joins the Resistance as he is someone that Gerbier admires while also being someone who has ideas with the Resistance that would alienate some. Finally, there’s Lino Ventura in a phenomenal performance as Philippe Gerbier as a leader of the Resistance who gets captured while trying to maintain his rule as well as keeping the Resistance a secret from the Nazis as well as having to make uneasy decisions knowing what is at stake as it is a restrained yet unsettling performance from Gerbier.

L’Armee des ombres is a magnificent film from Jean-Pierre Melville. Featuring a great ensemble cast, mesmerizing visuals, an eerie music soundtrack, and chilling suspense in its relation to life during World War II in German-occupied France. It is a film that definitely showcases a lot of the actions of the French Resistance as well as why they had to operate in the shadows as well as doing things that others might not want to do in war. In the end, L’Armee des ombres is an outstanding film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Magnet of Doom - Le deuxime souffle - Le Samourai - Le cercle rouge - (Un flic)

© thevoid99 2022

Magnet of Doom

Based on the novel by Georges Simenon, L’Aine des Ferchaux (An Honorable Young Man aka Magnet of Doom) is the story of a young boxer who is hired by a banker to travel with him to New York to collect money as they later go on the run from authorities and other forces. Written for the screen and directed by Jean-Pierre Melville, the film plays into a man trying to find work only to get himself into a much bigger scheme that becomes far more troublesome. Starring Jean-Paul Belmondo, Charles Vanel, Michele Mercier, and Stefania Sandrelli. L’Aine des Ferchaux is a riveting and provocative film from Jean-Pierre Melville.

Following a disappointing end to a once-promising career as a boxer, a man tries to find a job where he is hired by a mysterious banker to travel with him to New York City from Paris to collect money he has in the hopes he can evade family and others while ruling his criminal empire from afar. It’s a film that play into a man that is desperate to have a job where he is asked to accompany a banker with a criminal past to get money that he owes to other partners including family. Jean-Pierre Melville’s screenplay has a unique structure where its first act is set in Paris where the boxer Michel Maudet (Jean-Paul Belmondo) has lost a fight and is now trying to find work where he would sell used clothes and such to get money for himself and his girlfriend. Answering an ad on the paper, Maudet would meet Dieudonne Ferchaux (Charles Vanel) who is dealing with a bank that is failing and people wanting their money back as he knows that he has money in New York City and Caracas, Venezuela.

The second act partially takes place in New York City where Maudet and Ferchaux learn that the latter’s account in the U.S. is on hold due to his criminal background as FBI agents are hoping to extradite him back to France who are also after him. This would lead into a road trip through America towards the South as the two men would encounter their surroundings as well as get to know more about each other which play into their different personalities as Ferchaux just wants to hide while Maudet wants to see America. The film’s third act is set in Louisiana where the two go into hiding at a home which add to the growing tension of different needs and wants between the two as well as Ferchaux trying to protect all he had left.

Melville’s direction does bear elements of style yet much of his direction is straightforward in terms of the compositions he creates. Shot mainly in Paris and studios in Paris with many of the exterior locations in America are shot on those actual locations. Melville would use wide shots to get a look at the locations as well as a few scenes inside a room yet much of it has him shot scenes in a medium shot or in a close-up to observe the relationship between Maudet and Ferchaux. Notably in their first meeting at the latter’s mansion that includes the finest things a rich man can have including beautiful women as it establishes the world that Ferchaux lives in as it’s spacious and having all of these great antiques in a room. Melville’s direction captures so much detail as it play into a world that Maudet wants to be in but knows he has to make some sacrifices to be part of the world. When the film moves to America, it does become a somewhat different film in tone yet Melville does maintain this air of uncertainty in a low-key approach as it play into the dramatic suspense.

Melville’s direction does have a looseness in its approach to capturing the beauty of the American locations that include national parks and such as well as New Orleans where much of the film’s third act takes place. The film’s second act has Melville play into what is at stake where Maudet is aware that trouble is brewing where he is willing to listen to what these FBI agents want but also is sort of protective of Ferchaux. Still, Ferchaux becomes unruly and demanding as Maudet wants to have some freedom of his own where Melville showcases parts of New Orleans as well as a bar/restaurant that he goes to own by a man named Jeff (Todd Martin) who speaks French as he and an associate in Suska (E.F. Medard) have some interest towards Ferchaux that would play into this climax where Maudet either has to be there for Ferchaux or go out on his own. Overall, Melville crafts an evocative and gripping film about a former boxer accompanying a corrupt banker to America to collect money and hide from authorities.

Cinematographer Henri Dacae does brilliant work with the film’s cinematography as it has some vibrant colors for some of the film’s interiors including low-key lights for the house Maudet and Ferchaux lived in Louisiana as well the colorful exteriors for some of the locations in America. Editors Monique Bonnot and Claire Durand do excellent work with the editing as it is straightforward with some rhythmic cuts to play into the drama and some of the film’s suspense. Production designer Daniel Gueret does fantastic work with the look of the interiors of Ferchaux’s home as well as the house in Louisiana in its decayed state and the bar owned by Jeff.

The sound work of Jean Gaudlet and Victor Revelli is superb for its natural approach to sound in the way music is presented in a jukebox or the atmosphere of a certain location. The film’s music by Georges Delerue is incredible for its mixture of whimsical score pieces that play into the world of America as well as somber orchestral piano pieces that play into the sense of the unknown while its music soundtrack a mixture of rock n’ roll and Frank Sinatra which Maudet prefers.

The film’s terrific cast feature some notable small roles and appearances from Todd Martin as a bar/restaurant owner named Jeff who converses with Maudet occasionally to find out about Ferchaux, E.F. Medard as Jeff’s friend Suska, Andres Certes as Ferchaux’s brother Emile who wants his brother to pay him back, Michele Mercier as a French dancer named Lou that Maudet meets in New Orleans, Malvina Silberberg as Maudet’s Parisian girlfriend Lina whom he doesn’t reveal anything to her about his job, and Stefania Sandrelli in a wonderful appearance as an American hitchhiker named Angie that Maudet spends some time with on the road.

Charles Vanel is marvelous as Dieudonne Ferchaux as a corrupt banker with a criminal past that is eager to retrieve money he had saved up to escape from people whom he owes money to hoping to get out of America and go to South America where he later deals with illness and the growing indifference from Maudet. Finally, there’s Jean-Paul Belmondo in a remarkable performance as Michel Maudet as a former paratrooper/boxer whose career in the latter ended disappointingly as he takes a job to accompany Ferchaux unaware of the dangers and demands he has to endure where he tries to find his own freedom as well as realize the importance of the money that Ferchaux is trying to hold on to.

L’Aine des Ferchaux is an incredible film from Jean-Pierre Melville that features great performances from Jean-Paul Belmondo and Charles Vanel. Along with its locations, unusual story, George Delerue’s rapturous score, and gorgeous visuals, the film is a compelling story of a man traveling to America to accompany a man to retrieve money only to be watched by authorities wanting that man and his money. In the end, L’Aine des Ferchaux is a sensational film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Les deuxieme souffle - Le Samourai - Army of Shadows – Le cercle rouge - (Un flic)

© thevoid99 2019

Le deuxieme souffle

Based on the novel by Jose Giovanni, Le deuxieme soufflé is the story of an escaped criminal who chooses to embark on one final job while being pursued by a police inspector. Written for the screen and directed by Jean-Pierre Melville, the film is the study of a man trying to escape the world of crime only to be pulled back in as he is also aware that an inspector is looking for him. Starring Lino Ventura, Paul Meurisse, Raymond Pellegrin, Christine Fabrega, and Pierre Zimmer. Le deuxieme soufflé is a riveting and evocative film from Jean-Pierre Melville.

The film follows a revered criminal who escapes prison as he hides from the authorities where he is given a job offer to steal platinum bars for a crime boss and in return can retire. That is pretty much the film’s plot as a whole yet there is so much that happens as it play into the ideas of loyalty and intrigue where this criminal is also being pursued by this police inspector who knows what the man is up to. Jean-Pierre Melville’s screenplay opens with Gustave “Gu” Minda (Lino Ventura) making his escape with two other men as he is given some money and a place to hide but also wants to see his sister Manouche (Christine Fabrega) and her loyal bodyguard Alban (Michel Constantin) who would help out though they’re aware that several people are trying to find Gu including the famed police inspector in Blot (Paul Meurisse).

The film’s script does play into this cat-and-mouse game that Blot and Gu are playing with the former trying to figure out what Gu is doing with the latter accepting this job from the crime boss Paul Ricci (Raymond Pellegrin) with three other men to steal a shipment of platinum bars. Yet, Melville is aware that everything leads up to this heist in the middle of the film but it’s the aftermath that is more interesting. Notably into the idea of loyalty and honor which is something Gu holds dearly as he and the team of men in the heist already have plans to split the take five-ways but something goes wrong early in the third act when Gu is suddenly arrested by another police inspector in Fardiano (Paul Frankeur) who would trick Gu into unveiling information. For Blot, he sees Fardiano’s methods as inhumane leading to more trouble with Gu becoming a big target for all involved.

Melville’s direction is definitely rapturous in the way he creates this world of the French criminal underworld as it is shot partially in Paris and Marseilles with many of the interiors shot in a studio set in Paris. Yet, it opens with this escape scene where Gu and two men look out for guards as they climb over the walls and later ride a train. Melville’s usage of wide shots play into the location including the film’s big heist scene at the mountain roads. The attention to detail that Melville puts in where the characters are at and where to be positioned for the heist show that idea of professionalism of what it takes for a heist to succeed. It’s among the big sequences that Melville has made in a film that is largely intimate in the way characters deal or interact with each other in the usage of close-ups and medium shots. Particularly in the cramped and small apartment that Gu lives in where he would have a dinner with Manouche and hide out there hoping to go to Italy. There are also these entrancing images at the nightclub that the Ricci brothers own that often feature these gorgeous dancers as it play into this world that the Ricci brothers are trying to run and maintain.

Much of the film’s first act has Melville maintain that intimacy and exploration into the criminal underworld as well as establishing Gu’s reputation within the underworld which is why Paul Ricci wants him for the job. When the film reaches its third act, it’s not just about the code of the criminal that gets broken but also the impact of that code being broken. Especially as Gu is someone who doesn’t like to inform on anyone and it is that reputation that is dear to him where he starts to fall apart once he’s being tricked. These moments in the third act where it is clear that something is off prompts one of Gu’s associates in Orloff (Pierre Zimmer) to figure out what to do to prove Gu’s innocence but is also tasked to do something else in case Gu is really guilty. All of which play into this idea of loyalty and honor in the world of crime with Blot trying to pursue Gu and bring him to justice. Overall, Melville crafts an intense yet ravishing film about an escaped criminal doing one final job only for things to go wrong in its aftermath.

Cinematographer Marcel Combes does brilliant work with the film’s black-and-white cinematography with the usage of low-key lights for many of the interior/exterior scenes set at night along with some vibrant natural lighting for some exterior scenes in the daytime. Editors Monique Bonnot and Michele Boehm do amazing work in the editing with its usage of jump-cuts, transition wipes, and fade-outs to help structure the story and play into the suspense. Production designer Jean-Jacques Fabre and set decorator Guy Maguin do excellent work with the look of Gu’s small apartment as well as the club that the Riccis run and the interiors of Manouche’s boathouse.

Costume designer Michel Tellin does fantastic work with the look of the suits the men wear as it does play into the style of film noir and gangster films as well as the lavish dresses that Manouche wears. Sound mixer Alex Pront does superb work with the sound as it play into the atmosphere of the locations with some heightened sounds in the mixing for some places along with the film’s big heist sequence. The film’s music by Bernard Gerard is incredible for its jazz-based score that play into the liveliness of the film as well as the underworld and in some intense moments in the film.

The film’s wonderful cast include some notable small roles from Pierre Grasset and Denis Manuel as a couple of criminals who took part in the heist as they later want to kill Gu for breaking the code, Michel Constantin as Manouche’s bodyguard Alban who is also a former marksman, Marcel Bozzuffi as Paul’s brother Jo who wants Gu dead, and Paul Frankeur in a terrific performance as the corrupt police inspector Fardiano who would use dirty tactics to capture Gu. Pierre Zimmer is superb as Gu’s friend Orloff as a man who acts as a middle-man for Gu and Paul Ricci as he is a no-nonsense man that makes sure things go well while he becomes suspicious of Jo’s intentions later in the film. Christine Fabrega is excellent as Gu’s sister Manouche as a woman who has money and is willing to help out her brother while trying to evade questions from Blot. Raymond Pellegrin is fantastic as Paul Ricci as a crime boss who wants Gu to do a heist for him as he is also willing to give Gu the chance to leave the life of crime until things go wrong in the aftermath.

Paul Meurisse is incredible as Inspector Blot as a no-nonsense police inspector who is eager to capture Gu while wanting to ensure that Gu is brought to justice without any harm as he’s a man that also plays by a code and honor as he knows that some in the police can’t be relied on. Finally, there’s Lino Ventura in a phenomenal performance as Gusatve “Gu” Minda as this criminal who lives by a code of honor among thieves where he does his job and keeps his mouth shut where he would escape and get a chance to do a final job. It’s a performance that has Ventura be cool and not show much emotion except in the third act when he’s being accused of being a rat which pisses him off big time as it is a must-see performance from Ventura.

Le deuxieme soufflé is a tremendous film from Jean-Pierre Melville that include great performances from Lino Ventura and Paul Meurisse. Along with its supporting cast, gorgeous visuals, playful score, and themes of honor and ideals in the world of crime. It’s a film that play into men planning a heist only for things to go wrong in its aftermath as it showcases not just the fallacies of loyalty but also in the fact that there’s no one to trust in the world of crime. In the end, Le deuxieme soufflé is a spectacular film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Magnet of Doom – Le Samourai - Army of Shadows – Le cercle rouge - (Un flic)

© thevoid99 2018

Le Cercle Rouge

Written and directed by Jean-Pierre Melville, Le cercle rouge (The Red Circle) is the story of a master thief who meets a prison escapee and a former cop where they team up for a heist as they deal with an inspector. The film is a study of three men planning a heist to ensure that everything goes exactly as planned while they’re being pursued by a police investigator. Starring Alain Delon, Gian Maria Volonte, Yves Montand, and Andre Bourvil. Le cercle rouge is a ravishing and intoxicating film from Jean-Pierre Melville.

The film follows two different criminals who meet as they team up for a heist with a former cop while one of the criminals is being pursued by a police investigator who was accompanying him to prison. It’s a film that play into men who are trying to pursue one another or flee from someone as its title refers to that place where everyone comes together through some form of destiny. Jean-Pierre Melville’s screenplay opens with these two paralleling narratives into these two criminals in the thief Corey (Alain Delon) and a prisoner named Vogel (Gian Maria Volonte) as the former is being released from prison while the latter makes an escape on a train as a manhunt would follow led by Inspector Mattei (Andre Bourvil) who was accompanying Vogel. Corey would go on the run after robbing a former associate and be involved in a scuffle with that associate’s goons as he discovers that Vogel had hidden himself in the trunk of his new car.

The two would learn about their respective situations as Corey has some vital information about a robbery he wants to do as Vogel knows a former cop named Jansen (Yves Montand) who is an expert marksman that is dealing with alcoholism. While Corey and Vogel plan the robbery with Jansen scoping out everything in this posh jewelry store, Inspector Mattei is in pursuit of Vogel as he tries to figure out how to capture him alive as he would encounter a series of mysteries that Vogel is involved in. Even as he would delve into the crime underworld to get what he wants while straying away from being corrupted as he had seen a lot of people in the force succumb to vices.

Melville’s direction definitely has some stylistic scenery in the way he captures the idea of a heist film though much of his compositions are straightforward. Shot on various locations in France including parts of Paris, the film does play into this idea of characters meeting as if it was destiny as much of the first act is about Inspector Mattei’s pursuit of Vogel and Corey on the run from people in the criminal underworld. Melville’s approach to compositions has him focusing on the scope of the locations with the wide shots in Vogel running from the authorities and how he would meet Corey through accidental means with Corey unaware that Vogel hid in the trunk of his car. The usage of close-ups and medium shots that play into the suspense as well as Vogel and Corey’s first meeting as Melville would create shots that are simple to establish who they are as well as the need to make a big score. The introduction of Jansen is surreal as it plays into his alcoholism where he would see all of these animals coming into his home as it is a key moment in the second act.

One notable sequence during the second act is where Jansen goes to the jewelry shop as it’s about the room where all of the jewels are on display and what is in the room. The attention to detail as well as the geography of where the cameras might be as well as a lock for what might be a vault is shown through wide and medium shots as Melville gives the audience an idea of what has to be done. The heist sequence itself is definitely the highlight of the film as it’s this long sequence that goes on for nearly 30 minutes as it about what these three men would do and the role they would play. It is paced slowly but it’s crucial to show how meticulous these three men are in making sure everything goes right as there is barely a word said throughout. The aftermath is filled with thrills as it play into Inspector Mattei trying to find Vogel as well as the men who robbed the jewelry store as its climax is about Mattei trying to set a trap. Overall, Melville crafts a riveting and evocative film about three men planning a jewelry heist as they’re being pursued by the criminal underworld and a determined police investigator.

Cinematographer Henri Decae does brilliant work with the film’s cinematography with its natural yet grey exteriors to play into the cold weather for the rural locations as well as the usage of lights for some of the scenes at night including the bright and extravagant look at the nightclub scenes. Editor Marie-Sophie Dubus does amazing work with the editing as it is stylized with usage of jump-cuts, transition wipes, and other rhythmic cuts to play into the suspense and the drama. Production designer Theo Meurisse and set decorator Pierre Charron do excellent work with the look of the dusted apartment where Corey and Vogel hide out as well as the rooms in the police station and at the nightclub where one of Vogel’s old friends run.

The costumes of Colette Bardot are fantastic as it is mainly straightforward with many of the men wearing suits while there’s some stylish clothing for the dancers at the nightclub. The sound work of Jean Neny is superb for the atmosphere of the nightclub as well as the sparse usage of low-key sounds for the heist sequence. The film’s music by Eric Demarsan is terrific as it’s a mixture of jazz and orchestral music that is used sparingly during the course of the film with bits appearing during the heist.

The film’s incredible cast feature some notable small roles from Francois Perier as Vogel’s old contact Santi who runs a nightclub, Pierre Collet as a prison guard that Corey befriends early in the film, Andre Eykan as Corey’s old associate Rico whom he robs, and Paul Amiot as the police chief who is suspicious towards Inspector Mattei over his methods. Yves Montand is brilliant as Jansen as a former cop who is struggling with his alcoholism as he is asked by Corey to work with him and Vogel where he would unveil his true sense of professionalism when being sober as well as someone who is always looking out at anything he see that could go wrong. Gian Maria Volonte is amazing as Vogel as an escape convict who is trying to evade Inspector Mattei where he teams up with Corey while maintaining a low profile in his role for the heist.

Andre Bourvil is phenomenal as Inspector Mattei as a man who is trying to pursue Vogel and investigate other crimes as he’s an unconventional inspector that has methods where he can get the job done but he’s also a man of justice. Finally, there’s Alain Delon in a sensational performance as Corey as a master thief who has been released from prison who gets a tip about a place that is for a job where he tries to ensure that nothing goes wrong while befriending Vogel and Jansen as it’s an understated performance from Delon.

Le cercle rouge is a magnificent film from Jean-Pierre Melville. Featuring a great cast, gorgeous visuals, an engaging story, and inventive sequences that play into the meticulous nature of a heist. It’s a film that explores men trying to create the ultimate heist without incident unaware of the meeting they will have with the man trying to pursue them in this unlikely form of destiny. In the end, Le cercle rouge is a tremendous film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Magnet of Doom – Le deuxieme soufflé – Le samourai - Army of Shadows - (Un flic)

© thevoid99 2017

Les enfants terribles

Directed by Jean-Pierre Melville and written and narrated by Jean Cocteau that is based on his novel, Les enfants terribles (The Terrible Children) is the story of a strange relationship between two siblings who live by themselves until they bring outsiders to their home. The film is an exploration into the world of siblings and the close bond they have as well as what happens when jealousy and aspects of the outside world come to them. Starring Nicole Stephane, Edouard Dermithe, Renee Cosima, and Jacques Bernard. Le enfants terribles is an odd yet ravishing film from Jean-Pierre Melville.

The film is a simple story about the strange relationship between siblings who are very close yet the people who are around them notice something is odd with their relationship. It’s a film that really plays into not just how close these two siblings are but also in the fact that it’s a relationship where it’s the older sister Elisabeth (Nicole Stephane) is the dominant as she tries to take care of her brother Paul (Edouard Dermithe) who had been injured from a snowball fight due to a hit in the chest from a boy he has feelings for. The film’s script by Jean Cocteau doesn’t just explore Elisabeth’s need to care for her younger brother but also in trying to deal with his own naiveté towards the world with the help of one of his friends in Gerard (Jacques Bernard).

While it doesn’t feature much of a traditional structure as it is very loose in its storytelling. The script is more about the behaviors of Elisabeth and Paul with the latter being quite controlling as she also has to be maternal and lead her own life. When she gets a job as a model where she meets a young woman named Agathe (Renee Cosima), things get more complicated as does the relationship between the siblings. Especially as Agathe looks a lot like the boy Paul had a crush on where Elisabeth does try to move on but certain events force her to live with Paul, Gerard, and Agathe where she tries to stir things to cause all sorts of trouble for her own gain.

Jean-Pierre Melville’s direction is very entrancing for the way he captures the relationship between two siblings who are full of fire and personality. While there is a lot of intimacy that goes on inside their bedrooms and apartments where Melville uses a lot of medium shots and close-ups. It plays into how close Elisabeth and Paul are as siblings but also in the fact that they’re also quite different with the latter being dramatic as well as be very fragile due to the illness he would endure for much of his life. Melville’s usage of low and high camera angles would come into play into some of the places and rooms the characters are in as it adds a lot to some of the drama as well as where Gerard and Agathe would fit in as they’re observers who cope with being in an environment that is lavish but also quite chaotic and, at times, toxic. Melville also provides some of the voiceover narration from Cocteau as it relates to the characters and their situations along with elements of surreal fantasy and events that would shape them.

Notably in the second half where Elisabeth would marry an American but the marriage wouldn’t last because of circumstances beyond anyone’s control where much of the third act takes place in this mansion where it is very surreal. Especially with some of the strange imagery that Melville would put in as it relates more to Cocteau’s visual style with its statues and elements of fantasy. Particularly in a scene towards the end where Melville would infuse Cocteau’s own idea of imagery into something that is dazzling but also foreboding into the chaotic relationship between Elisabeth and Paul. Overall, Melville creates a riveting and provocative film about a strange relationship between siblings.

Cinematographer Henri Dacae does brilliant work with the film‘s black-and-white photography to play the look of not just Paris and the French Riviera but also in some intricate lighting for some of the interiors such as the rooms in the homes they‘re in and the way the light sets a mood for the scenes. Editor Monique Bonnot does excellent work with the editing with its stylish usage of transition wipes, a few trick cuts for some of the surreal moments, and other rhythmic cuts to play into the drama. Production designers Jean-Pierre Melville and Emile Mathys do nice work with the look of Elisabeth and Paul’s room in the home they lived with their mother as well as the lavish home they would later live along with the design of Paul’s room.

The costumes of Christian Dior are fantastic for the look of the dresses and robes that Elisabeth and Agathe would wear as well as what they would model in their jobs. Sound editors Jacques Gallois and Jacques Carrere do terrific work with the sound in capturing some of the antics that goes on in the city along with the quieter moments inside the homes of the characters. Much of the film’s soundtrack features a lot of compositions by Antonio Vivaldi as well as a piece by Johann Sebastian Bach that features some Vivaldi arrangements as it plays into a lot of the drama that looms throughout the film.

The film’s wonderful cast includes some notable small roles from Maurice Revel as a family doctor, Adeline Aucoc as the family maid Mariette, Roger Gaillard as Gerard’s uncle who invites Elisabeth and Paul to his vacation while helping them out, and Melvyn Martin as the American Michael whom Elisabeth would meet and fall in love with until circumstances end things. Jacques Bernard is excellent as Gerard as a friend of Paul who helps out with the family as he finds himself being caught in the middle of things while trying to being the one to tell them what is going on outside of their home. Renee Cosima is fantastic in a dual role as Elisabeth’s friend Agathe whom Paul would fall for only to deal with the chaos of the family and as Paul’s schoolmate Dargelos as the one who would make Paul ill while being a sense of anarchy for the school they attend.

Edouard Dermithe is superb as Paul as a fragile young man who copes with illness and his sister’s constant meddling as well as wanting his own independence despite his immaturity. Finally, there’s Nicole Stephane in an incredible performance as Elisabeth as the eldest of the two who tries to make sure Paul is well and does what is right but also has her own vices that makes her quite selfish and, at times, obsessive where it is a performance of great command and charm.

Les enfants terribles is a remarkable film from Jean-Pierre Melville and writer Jean Cocteau. With a great cast, a fascinating premise, and some dazzling scenery, the film isn’t just a unique study of sibling relationships but also a look into the world of jealousy and possessiveness with a dash of surrealism and fantasy. In the end, Les enfants terribles is a phenomenal film from Jean-Pierre Melville.

Jean-Pierre Melville Films: 24 Hours in the Life of a Clown - Le silence de la mer - Bob le flambeur - (Quand tu liras cette lettre) - (Two Men in Manhattan) - (Leon Morin, Priest) - (Le Doulos) - Magnet of Doom - Le deuxieme souffle - Le Samourai - Army of Shadows - Le Cercle rouge - (Un flic)

© thevoid99 2016

Le silence de la mer

Based on the novel by Vecors (Jean Bruller), Le silence de la mer (The Silence of the Sea) is the story of a German officer who has been assigned to stay at the home of a man and his niece during Germany’s occupation of France in World War II. Written for the screen, co-edited, and directed by Jean-Pierre Melville, the film is an exploration into power and resistance where a man tries to instill his power in the home of two people who are resisting him. Starring Howard Vernon, Nicole Stephane, and Jean-Marie Robain. Le silence de la mer is a chilling yet rapturous film from Jean-Pierre Melville.

Set in 1941 in a small town in France during Germany’s occupation of the country during World War II, the film is a simple story of a German officer who has been assigned to stay at the home of an old man and his niece. While he would engage with them through monologues, the old man and his niece choose to be silent in an act of resistance. Even as he tries to approach through conversation where he at first tries to instill a sense of his power but as the story progresses. It is shown that he is just a normal man that actually loves France as he becomes nostalgia for bits of his past but becomes uneasy about what his country wants to do with the country as a whole as it adds a sense of conflict from within.

The film’s script is largely told by this old man (Jean-Marie Robain) as he speaks largely through voiceover narration as he reflects on his time during the occupation where he disapproves the presence of Lt. Werner von Ebrennac (Howard Vernon) only to realize that he is just as human as everyone else. The usage of voice-over narrative and the monologues of von Ebrennac adds to the tension that looms throughout the film but also with a sense of longing for a peaceful resolution as the only other character in the story is the niece (Nicole Stephane) who rarely speaks either in dialogue or in voiceover as she is just this observer that really dislikes von Ebrennac.

Jean-Pierre Melville’s direction is very mesmerizing for not just the fact that it is set almost entirely in the actual house where the book was based on. It’s also in the fact that he would maintain something that feels very real in its tension and intimacy in how these characters would interact together in the same room. While Melville would also do some shooting in the town and in parts of Paris for a sequence where von Ebrennac takes a tour of the city. Much of Melville’s work is set in the house where he uses a lot of medium shots to capture the intimacy and tension that looms throughout. Even as he creates some unique camera angles from above or below to play into that intimacy and whether the old man and his niece would say something or find a way to antagonize von Ebrennac.

Editing the film with cinematographer Henri Dacae, Melville would create these slow rhythms in playing up the tension while utilizing some stylish transition wipes for the scenes where von Ebrennac takes a tour of Paris as it would play into his own fascination for the country. The tour would also include some flashbacks as well as key moment in the film’s climax about the realities of war and occupation that von Ebrennac must deal with. It’s in the moment where the close-ups do come into play as well as a sense of melancholia as it relates to not just what the French had to endure during that awful period of occupation but also in the fact that there were Germans who did have some humanity as they questioned about the moralities of war. Overall, Melville crafts a fascinating and haunting film about a German officer living with a French family during Germany’s occupation of France in World War II.

Cinematographer Henri Dacae does brilliant work with the film‘s black-and-white photography from the way it creates a sense of mood for many of the nighttime scenes set at the den inside the house along with some naturalistic lighting for some of the film‘s exterior scenes in the day. The costumes by Traonuez are quite nice for not just the look of the uniforms but also in what von Ebrennac wears at the house as it showcases where he comes from as opposed to the more quaint, rural look of his inhabitants. The sound work of Jacques Carre is terrific for being very naturalistic in its setting as well as playing into the tension inside the room with the three main characters. The film’s music by Edgar Bischoff is fantastic for its orchestral-based score that plays into some of the drama for some of von Ebrennac’s stories along with more upbeat pieces for scenes set during his tour of Paris.

The film’s wonderful cast include some notable small roles from Denis Sadier as a friend of von Ebrennac in Paris, Georges Patrix as a servant for von Ebrennac who would appear from time to time, and Ami Aaroe as his former fiancee whom he reflects on during his time in France before the war. Nicole Stephane is amazing as the niece who spends much of her time cooking and sewing in silence as she appears uncomfortable around von Ebrennac as she rarely says anything to express her disdain towards him. Jean-Marie Robain is excellent as the old man who copes with von Ebrennac’s presence as he reflects, via voiceover narration, about what is happening as well as dealing with von Ebrennac. Finally, there’s Howard Vernon in an incredible performance as Lt. Werner von Ebrennac as a German officer who is assigned to live in the home of a rural French family as he tries to instill his presence only to reveal sides of himself that display a sense of humanity he struggles to carry amidst the chaos of war as well as what his country’s plans are for not just France but Europe itself.

Le silence de la mer is a phenomenal film from Jean-Pierre Melville. Thanks in part to a great cast, a chilling premise, and a calm yet eerie presentation, the film isn’t just a study of life during Germany’s occupation of France but also a study of humanity within that period from both sides. In the end, Le silence de la mer is a remarkable film from Jean-Pierre Melville.

Jean-Pierre Melville Films: 24 Hours in the Life of a Clown - Les Enfants terribles - Bob le flambeur - (Quand tu liras cette lettre) - (Two Men in Manhattan) - (Leon Morin, Priest) - (Le Doulos) - Magnet of Doom - Le deuxieme souffle - Le samourai - Army of Shadows - Le Cercle rouge - (Un flic)

© thevoid99 2016

Bob le flambeur

Directed by Jean-Pierre Melville and written by Melville and Auguste le Breton, Bob le flambeur (Bob the Gambler) is the story of a gambler who decides to rob a casino by planning a heist with a group of men. The film is an exploration into the planning of a heist as a man is determined to end his losing streak as well as hoping to get one last score. Starring Roger Duchesne, Isabelle Corey, and Guy Decomble. Bob le flambeur is a mesmerizing yet engaging film from Jean-Pierre Melville.

Bob Montagne (Roger Duchesne) is a notorious gambler currently dealing with a losing streak as he had just been out of prison while finds himself surrounded by lots of things around him. While he’s being watched by police investigator named Ledru (Guy Decomble), Bob maintains a low profile as he later meets a young man named Paolo (Daniel Cauchy) who has been hanging around with a seedy pimp named Marc (Gerard Buhr). Bob shows Paolo the ropes while they later meet a beautiful young woman named Anne (Isabelle Corey) who is intrigued by Bob though she finds herself in the company of Paolo. When Bob meets his friend Roger (Andre Garet), Roger reveals that he knows a croupier (Claude Cerval) at the Deauville Casino who claims that there’s 800 million francs in a vault.

Bob decides to stage a heist as he and Roger organize the heist very carefully as Paolo gets involved in the hopes to get off the clutches of Marc. For Bob, it’s the chance to live a retired life and not succumb to his losing streak. Things start of well as Roger even finds out what kind of safe is used for the heist, something eventually goes wrong when outside forces start to know what is going on making Bob nervous. Bob thinks about shutting the heist down until Paolo does something that would ease things. On the night of the heist where everything is set, Bob still feels uneasy where he would do something in the hopes to find another way to score big.

The film is essentially the story of a gambler making the ultimate gamble by planning a casino heist in order to have one last score. Notably as he hopes that a police investigator gets off his back while giving a young man and a young woman a chance to live a life outside of crime. Still, he is very careful about making sure things don’t go wrong yet things would go wrong where it would reveals about what not to do when one is involved in a heist. This would eventually lead to all sorts of complications forcing this down-on-his-luck gambler to find a way to succeed.

The screenplay by Jean-Pierre Melville and Auguste le Breton definitely plays to the element of film noir and the heist film where there’s a lot of rules and conventions that are featured. In the element of noir, there’s a man looking for a score as he gains a protégé to work with while he meets this young woman who is very interested in him. Bob Montagne is a man dealing with not just a losing streak but also irrelevancy in the crime world as there’s a lot happening around him including a pimp who is making deals all over town and taking whatever he can to succeed. By taking on this casino heist, Bob hopes to get away from the world of crime as he is careful about making sure nothing goes wrong. Yet, things would go wrong in the schematic of things where it reveals what not to do when one is involved in a heist. It would cause all sorts of implications making others nervous as the police would be involved.

Melville’s direction is definitely stylish in the way he presents the planning of the heist as well as the drama that unfolds in its titular character. While some of the visual aspects and scenarios are in the traditional of film noir in terms of the framing. Melville does play with those schematics in order to do something different where not many people play to the traditional archetype of film noir. Notably in the way he would use noir to present the motivation that Bob is looking for to set up the heist while Melville would briefly narrate in order to establish key moments of what Bob is doing.

Melville’s approach to the heist set up is unique in the way he slowly plays things out through some stylish shots including a wide shot of where Bob reveals to those he’s working with in how things have to play out. Still, it’s obvious something goes wrong as there’s this sense of tension that occurs late in the film where Bob becomes uneasy but what could go wrong. The film’s last 10 minutes are the most interesting as the focus is on Bob checking to see if everything is in place but something is amiss. The ending is also ambiguous for not what happens to him but to his whole crew. Overall, Melville creates a very masterful and intricate crime film that does a whole lot more than what is expected in the genre.

Cinematographer Henri Decae does fantastic work with the film‘s black-and-white photography from some of the entrancing, noir-style interiors to set a mood to the day and nighttime exteriors to maintain an air of suspense as well as a thriving energy of what happens in Paris. Editor Monique Bonnot does brilliant work with the editing that is definitely stylized with transitional fade-outs and wipes as well as rhythmic cuts that would later become the basis for the jump-cut. Set pieces by Claude Bouxin does wonderful work with the sets from the clubs and bars that Bob hangs out to the look of the Deauville Casino.

The costumes of Ted Ladipus are terrific for the clothes the men wear that plays to the noir genre as well as the stylish clothes of Anne. The sound work of Pierre Philippenko and Jacques Carrere is superb for its low-key sound in the casino as well as places set on location. The music of Eddie Barclay and Jo Boyer is a delight to hear for its mixture of playful jazz and ominous orchestral music to play out the suspense.

The film’s excellent ensemble cast includes some notable small roles from Claude Cerval as the croupier who gets involved in the heist, Colette Fleury as the croupier’s wife, and Gerard Buhr as the slimy pimp Marc. Andre Garet is wonderful as Bob’s associate Roger who helps him organize the heist while making sure Bob doesn’t fall prey to gambling. Guy Decomble is superb as police inspector Ledru who is keeping an eye on Bob to make sure he doesn’t get himself in trouble while waiting for him to screw up. Daniel Cauchy is great as the young criminal Paolo who learns the ropes of what it takes to succeed while his infatuation with Anne would eventually cause some problems.

Isabelle Corey is amazing as the young woman Anne who is a mixture of girlish innocence and intoxicating sexuality as someone who is intrigued by Bob. Finally, there’s Roger Duchesne in a phenomenal performance as the titular character as an aging gambler who knows his best days are behind him as he deals with a losing streak and irrelevancy as he is determined to make one final score.

Bob le flambeur is a masterfully-crafted crime film from Jean-Pierre Melville. Featuring outstanding performances from Roger Duchesne and Isabelle Corey, it’s a film that definitely takes the conventions of film noir and heist films and create something that is very different. Notably in exemplifying on what not to do which raises the dramatic stakes as it leads to a very engaging third act. In the end, Bob le flambeur is an incredible film from Jean-Pierre Melville.

Jean-Pierre Melville Films: 24 Hours in the Life of a Clown - Le Silence de la mer - Les Enfants terribles - (Quand tu liras cette lettre) - (Two Men in Manhattan) - (Leon Morin, Priest) - (Le Doulos) - Magnet of Doom - Le deuxieme souffle - Le Samourai - Army of Shadows - Le Cercle rouge - (Un flic)

© thevoid99 2013

Le Samourai

Originally Written and Posted at Epinions.com on 1/13/10 w/ Extensive Revisions.

One of the key figures of French cinema, Jean-Pierre Melville was one of the first film directors to create films outside of studios and through his own means. A major influence to the French New Wave movement, Melville's idea to shoot on real locations was something different to his work in comparison to the French films being made during the 1950s. In the 1960s, he was revered by many as making acclaimed films throughout the decade. One of them would be considered one of his finest which featured of France's best actors of that time in Alain Delon entitled Le Samourai (The Samurai).

Directed by Jean-Pierre Melville and based on the novel The Ronin by Joan McLeod. Le Samourai tells the story of a hitman who lives by a strict code of rules and maintains a certain form of perfection in his job. During an assignment where something goes wrong as he finds himself in trouble. Adapted into script by Melville and Georges Pellegrin, the film is a mixture of 1940s American crime films with 1960s French New Wave style along with the mythology of the Japanese samurai as Alain Delon plays the title character. Also starring Francois Perier, Nathalie Delon, and Cathy Rosier. Le Samourai is a smart, hypnotic, and stylish thriller from Jean-Pierre Melville.

Jef Costello (Alain Delon) is a hitman that lives in an apartment with a little caged bird that's based on a strict lifestyle from the ideas of the samurai. For one particular assignment, Costello steals a car with his set of keys to find which one to start the car as he goes to a secret place to get a gun, money, and a new license plate for the job. After visiting his girlfriend Jane (Nathalie Delon) to create an alibi of where he was at between 7PM and 2AM as he goes to a nightclub to kill its owner. He succeeds only to be seen by the nightclub's pianist Valerie (Cathy Rosier) as he is suddenly pursued by the police and caught. Despite having no criminal record, the police superintendent (Francois Perier) believes that Costello fits the description of the assassin.

During a line-up description where Valerie attends, the bartender (Robert Favart) and a couple of witnesses claim it's Costello as Jane is asked to come to the police station. Yet, Jane's former lover Weiner (Michel Boisron) claims to have seen someone fitting Costello's description at an apartment at around 1:45 AM as Costello was let go due to lack of evidence. While the superintendent decides to have Costello followed, Costello decides to meet his employer (Jacques Leroy) at a bridge where things go wrong as he is aware that he's followed. Costello hopes to meet Valerie into why she didn't say anything as an attraction ensues.

With the superintendent hoping to catch Costello by placing a bug in his apartment, Costello goes on the search for the man his employer is working for as paranoia starts to happen. Based on evidence found at Costello's apartment, the superintendent and his men question Jane who realizes that something is wrong. With the cops tailing him and a man wants him for a new contract to kill someone, Costello makes a move where he would get himself in the clear.

The film is a tribute of sorts to 1940s gangster films where the character of Jef Costello has a look that is very 1940s with a Fedora hat, a suit, and trench coat. Yet, with its French New Wave aesthetics and a tone that is similar to Japanese cinema. It's a film that definitely transcends various styles while taking a genre and turning into something that is very different from what audiences would expect in a thriller. It doesn't have a lot of action nor does it have any fast-building moments of suspense. It's a film that takes it time like the character of Jef Costello does in planning things out.

The screenplay that Jean-Pierre Melville and Georges Pellegrin create is definitely inspired by the works of Japanese cinema. Notably the samurai films of Akira Kurosawa where the film begins with a fictional quote that is attributed from The Book of Bushido. It is in that quote where audiences get to know who Jef Costello is for the first 10 minutes which almost has no dialogue at all. A man who lives a certain lifestyle. Not with a lot in his apartment and by a strict code of rules. A perfectionist who does his job and that is it. He creates alibis, steal cars with set of keys that where he needs to find the right one. Go somewhere far away from the city of Paris to get a gun, a bit of money, and the license plate removed.

Then when a mistake happens when he is suddenly seen, everything goes to hell and tries to get himself out of trouble only to realize he's in a whole lot of trouble from both the cops and the people who hired him to kill a man. At the same time, there's a police superintendent who is an antagonist of sorts but is one with morals and lives by his own set of rules. Knowing that he Jef Costello could be the killer of the nightclub owner, he does what he has to do to get the truth. Even if he has to harass a young woman with threats and a chance to have her name cleared up. The script is about what men will do for their own means as it's really a battle of wits between two very disciplined men.

Melville's direction is definitely full of stylish shots and striking compositions to give the film a tone that is quiet and hypnotic. The first ten minutes is nearly dialogue free until Jef comes to Jane's apartment where she only says his name near the 10 minute mark. A lot of what happens is just Jef Costello doing what he's doing in preparation for what he's going to do. Yet, there's not much dialogue that Jef Costello says throughout as he remains this stoic persona who maintains his cool unless he gets into some trouble where he makes some moves of his own. Melville's camera is always on something from the shot of objects to establishing shots that would prove to be crucial to the story and what is going to happen. Even in scenes where there's great tracking shots that move slowly to what Costello is doing or what is going on around him. The result is Melville maintaining a sense of style and wit into his direction that works to the fullest.

Cinematographer Henri Decae does an amazing job with the film's colorful look with the dark look of Jef's apartment to the bright colors of the apartments where Valerie and Jane stays in. The exterior look of Paris is often filled with low lights depending on its mood which plays up to what Melville needed while the scenes in the police station are shot with a sense of claustrophobia and lights that conveys a far chilling mood. Decae's work is truly superb in its lighting schemes and camera movements for what Melville needed. The editing by Monique Bonnot and Yolande Maurette is great in its slow yet methodical pacing for the first act of the film to more fast-paced cuts in some of the film's action sequences. With the use of rhythmic jump-cuts to keep some of the momentum going, one of the film's striking moments in the editing is the use of side-wipe transitions which is definitely a tribute to the work of Akira Kurosawa, who is famous for those transitions as the editing works in maintaining its sense of style.

The production design/set decoration work of Francois de Lamothe is brilliant for its mood and personalities of where the characters live in. From the dark yet open-space look of Jef's apartment to the stark yet clean look of the police station and office. The art direction and set design is truly fascinating while the look of the club in its clean, glamour look is the epitome of cool but also something that isn't entirely accessible. The sound editing of Robert Pouret is excellent for its sense of atmosphere from the tense feel of the police station to the chaotic work that is Paris in its trains and the city itself. The nightclub scenes are presented in an intimate fashion with jazz music playing in the background throughout. The music score of Francois de Roubaix is wonderful for its jazzy feel with its sense of melancholia and nightclub rhythms that keeps the momentum going in some places while it is mostly played for a calm, suspenseful feel.

The casting is superb with some memorable small roles from Andre Salgues as a garage keeper, Michel Boisrond as Jane's other lover Weiner, Robert Favart as the nightclub's barkeeper, Catherine Jourdan as a hatcheck counter at the club, Jacques Leroy as an employer of Jef, and Jean-Pierre Rossier as the man who ordered the hit on the nightclub owner. Cathy Rosier is very good as Valerie, a jazz-pianist who is smitten by Jef while being the only real witness to see what had happened as she is very understated throughout the film. Nathalie Delon is also good as Jane, Jef's secret lover who maintains his alibi while being very cool when she is being confronted by the police superintendent.

Francois Perier is great as the superintendent who suspects Jef Costello while trying to do all the he can with some rules to catch the guy. Perier is often very calm and at times, plays it cool a bit in his scene with Nathalie Delon as it is definitely remarkable role for the late, great actor. Finally, there's Alain Delon in what is definitely one of his most iconic performances as Jef Costello. Though restrained for the most part and not with a lot of dialogue to speak. Delon's stoic performance is nothing short of cool as he maintains a sense of discipline and charisma to his character. It is definitely one of Delon's finest work of his career.

Released in 1967, the film was considered to be one of Jean-Pierre Melville's finest work. The film would have such an influence on young filmmakers that several paid tribute to the film in various ways. John Woo payed tribute to it with his 1989 film The Killer while he would end up writing an essay for the film's 2005 Criterion release. In 1999, Jim Jarmusch paid tribute to Melville and the film with his own samurai-style hitman story called Ghost Dog: The Way of the Samurai with Forest Whitaker's character maintaining the same code of rules and a set of keys just like the Jef Costello character.

Le Samourai is a cool, stylish film from Jean-Pierre Melville featuring a phenomenal performance from Alain Delon. Fans of hitman stories and stylish thrillers will no doubt enjoy this film while it also serves as a worthy introduction to the works of both Jean-Pierre Melville and Alain Delon. It's a film that kind of gets to a slow start at first but once the audience gets into it, it become a whole, worthwhile experience. In the end, Le Samourai is a fantastic, unconventional film from Jean-Pierre Melville.

Jean-Pierre Melville Films: 24 Hours in the Life of a Clown - Le silence de la mer - Les Enfants Terribles - (When You Read This Letter) - Bob le Flambeur - (Two Men in Manhattan) - (Leon Morin, pretre) - (Le Doulos) - Magnet of Doom - Le deuxieme souffle - Army of Shadows - Le Cercle rouge - (Un flic)

© thevoid99 2011

A Bout de Souffle

Originally Written and Posted at Epinions.com on 5/22/04 w/ Extensive Revisions & Additional Edits.

Written and directed by Jean-Luc Godard (with additional writing from Francois Truffaut), A Bout de Soufflé (Breathless) is the story of a criminal on the run who meets up with his American girlfriend as they fund a trip to go to Italy. The film is Godard's first feature film that would help kick-start the French New Wave that would become of the key movements for 1960s international cinema. Starring Jean-Paul Belmondo and Jean Seberg with a supporting cast that includes Liliane David, Daniel Boulanger, and Jean-Pierre Melville. A Bout de sSouffle is a stylish yet entertaining film from Jean-Luc Godard.

Michel Poiccard aka Laszlo Kovacs (Jean-Paul Belmondo) has just stolen a car as he drives through France on his way to Italy After a cop chases and stop him, Poiccard shoots him and returns to Paris to meet with his Italian friend Minouche (Liliane David) for money. She refuses as he steals from her as he meets his American girlfriend Patricia Franchini (Jean Seberg) selling the New York Herald Tribune in the streets of Paris. They briefly talk as she reveals she has to meet someone later tonight as it would help become a journalist as Poiccard decides to meet with Mr. Tolmatchoff (Richard Balducci) at a hotel for some money. After the meeting, Tolmatchoff is met with a detective (Daniel Boulanger) about Poiccard's whereabouts. Poiccard meets up with Patricia as he steals another car to take Patricia to her meeting with a man named Carl Zombach (Roger Hanin) for an interview with novelist Parvulesco (Jean-Pierre Melville).

After the meeting where Poiccard watches Patricia the entire night who spends the night with Zombach as he goes to her apartment. She returns that morning as she finds Poiccard as they talk about various things including William Faulkner's Wild Palms as she asks Poiccard about the final sentence of the book. After making love, Patricia leaves for her interview with Parvulesco while Poiccard calls Antonion Berrutti (Henri-Jacques Huet). Patricia's interview with Parvulesco proved to be a big moment for her as she got him to ask answer a question of ambition where he replies, "To become immortal, and then die". Poiccard however, is on the run as he steals another car to pick up Patricia as she is being questioned by a detective about Poiccard's whereabouts. With another detective tailing her, she meets with Poiccard as they hide out as he plans to leave for Italy with her tagging along. Yet, Patricia becomes unsure about Poiccard as she is forced to make a drastic decision.

The film is about a small-time criminal who wants to escape to Italy with his American girlfriend by doing small crimes while she is aspiring to be a journalist. Throughout their journey, they delve into ideas of existentialism that is heightened by a book from William Faulkner and the question that Patricia gives to a novelist. Throughout the film, there's moments where the Michel Poiccard character is commenting on his situations and musing about everything from France to being a criminal. What Jean-Luc Godard creates with the story is where everyone is trying to get somewhere as both Patricia and Michel are two people who are in love but leaning towards different directions. Michel wants to escape to Italy but Patricia is just at a point where she is about to reach her own goal as a journalist.

The lack of a conventional script allows Godard to create a film that is very loose in structure and tone. Shooting in a style that would later be defined as cinema verite, a loose documentary style where everything is shot on location, the film has a look and feel where everything seems real just as it's all happening on screen. Yet, Godard does manage to create some amazing scenery such as Patricia's monologue sequence where she talks about her own plans as the camera moves slowly as she's walk towards it. The mix of a controlled yet more technique driven style of filmmaking mixed in with something that's more loose and improvised works very well in what Godard aims for. There is a great sense of style that really engages the viewer with what is happening. Overall, it is a spectacular debut made only from the vision of Jean-Luc Godard.

Helping with Godard on the cinematography is Raoul Coutard whose hand-held, naturalist black-and-white camera work plays up to the looseness of the film. The cinematography is both rich but also raw in its presentation as it adds to the realistic feel of the film as Coutard's photography is a major highlight of the film. The editing by Cecile Decugis and Lila Herman are very influential, notably for its jump-cut edits. The best example of that is during the car scene where Coutard’s camera is shooting behind Seberg’s head during the sunlight and then cuts to a similar shot without the sunlight and then back to the shot with sunlight. The editing has a rhythmic feel of the film while playing with Coutard’s cinematography and Godard’s direction.

The film’s sound by Jacques Maumont is very fresh for the way it sounds so real without manipulating the audience that everything sounds false, notably the parade scene in the third act of the film. The film’s score by Martial Solal has a very playful, jazzy score that has this melodic riff that will be playing on your head throughout the film. It’s one of the best scores that is ever assembled for its mix of orchestral pieces and the French pop music of the time.

While the film has a small cast of actors in fine performances in the smaller roles from Liliane David, Roger Hanin, Richard Balducci, Henri-Jacques Huet, and Jean-Luc Godard himself in a role of the informer. The film’s supporting cast really shines in two more well known characters, the detective by Daniel Boulanger and Jean-Pierre Melville’s Parvulesco. Boulanger’s performance of the detective is a very straightforward parody of the detectives in the past while he brings an eerie presence to the film while he chases Belmondo’s Michel character. The legendary filmmaker Jean-Pierre Melville is amazing in the role of Parvulesco with his witty intelligence and theories of men and women and how love is a form of eroticism and vice versa in what is easily, one of the most memorable performances of that film.

Then in the leading roles, Jean-Paul Belmondo and Jean Seberg are exquisitely divine in their respective roles while they carry off a fresh, complex chemistry that is witty and ambiguous in their characters, which at times are unlikable but fun to watch. Belmondo is extremely funny and charming in his role of Michel with all of these Bogart references of cigarettes and lip-rubbings while bringing intelligence that can be mean but very relevant in today’s world. The late Jean Seberg is extremely loveable in the role of Patricia where she brings this smile that you so love and she has this individuality and wisdom that is almost pre-feminist while later in the film, she has this conflict in her character that audiences can relate into what is truly an iconic performance.

In the 2001 Winstar Video DVD release with Fox Lorber Films, the DVD overall is a bit disappointing since the film is presented in a full-screen format. Plus, the special features are very minimal with its subtitle controls, scene access, and weblinks relating to Godard and the French New Wave, and the filmographies of Godard, Seberg, and Belmondo. The best feature is a running audio commentary from film critic/Godard historian David Sterritt who talks a lot of the film’s technical achievements and pop culture references along with Godard’s love for cinema and a bit of the French New Wave.

A Bout de Souffle is an extraordinary film by Jean-Luc Godard featuring amazing performances from Jean-Paul Belmondo and Jean Seberg. Audiences who are new to Godard and the French New Wave will no doubt see this film as a great place to start. Particularly as it was a film made a time when cinema was seemingly becoming more extravagant and out of touch with reality as Godard and the French New Wave would bring it back down to Earth. The film is among one of Godard's key films of his prolific yet chaotic career that has him going from narrative-driven films to strange, offbeat experimental features in recent years. In the end, A Bout de Souffle is an exciting yet riveting film from Jean-Luc Godard.

Jean-Luc Godard Films: All the Boys Are Called Patrick - Charlotte et son Jules - The Little Soldier - A Woman Is a Woman - Vivre sa Vie - The Carabineers - Contempt - Band of Outsiders - A Married Woman - Alphaville - Pierrot le Fou - Masculine Feminine - Made in U.S.A. - Two or Three Things I Know About Her - La Chinoise - Weekend - One Plus One (Sympathy for the Devil) - (Joy of Learning) - (British Sounds) - Tout va Bien - (Letter to Jane) - (One A.M.) - (Number Two) - (Here and Elsewhere) - (Every Man for Himself) - (Passion) - (First Name: Carmen) - Hail, Mary - (Soft and Hard) - (Detective) - (King Lear) - (Keep Your Right Up) - (Nouvelle Vague) - (Allemagne 90 neuf zero) -(JLG/JLG - Self-Portrait in December) - For Ever Mozart - (Historie(s) de Cinema) - (In Praise of Love) - (Notre musique) - (Film Socialisme) - (Adieu au Language) - (The Image Book)

© thevoid99 2011