Siempre va a resultar impresionante ver --y oír-- aquellos gestos melvillianos, en donde la mirada cobra un sentido último, definitivo, o el trágico destino de unos cuerpos sometidos a una existencia llena de problemas, escondites, imposibilidades. Con esa atmósfera vacía, casi bressoniana, la resolución de la muerte llena todo, alberga algún sentido.
Well, this is not what I've expected. Top ratings everywhere, but not for me. Overlong, ridiculous conversations, boring. Acting staff is not convincing at all, even Lino Ventura seems like to be out of place. What's the hype on this? Truely a disappointment.
Classique du film policier français, baignant dans une atmosphère tendue et glauque. L'affrontement entre la pègre et la police devient un titanesque combat où s'entremêlent violence, horreur et tragédie. Un digne représentant du film noir français. www.cinefiches.com
If I were living in Marseille in the 60's, I would certainly frequent this bar, which seems to regularly feature heeled women dancing in synchronicity with long cigarettes. Also don't think I've ever met a more lovable detective. Sound department, cinematography, editing, all A+. My favorite Melville to date.
In this second vision of the film, perhaps for its extraordinary opening sequence, the escape from prison, I thought about how much and by different forms and ways, Melville has an approach to the matters of film similar to Bresson: although with professional actors, what is intended from them is a body-voice adequacy of their psychologist emptying and the sound is image's greater concreteness, almost without music.
Of all genres, the crime drama is the greatest for me. Like most movie genres it's based on escape from our safe reality, but in every city men kick in doors, fire guns and slit throats, and at movies like this one the distance between us and death, us and riches, us and those men is shortened in a way it can never be with cowboys or aliens. It's the dark, inviting middle ground between fantasy and realism.