Criterion Sunday 218: Le Cercle rouge (1970)

Connoisseurs of the heist film may be able to speak lyrically about the various differences between them all, but at some stage all these (often French) mid-century heist flicks blend together in my mind. There’s a long, silent sequence of them pulling it off, which harks back to Rififi (if I’m not mistaken), which had a similar wordless heist procedural section. This one also has Alain Delon in a trenchcoat — somewhat as he is in Melville’s other films — but it’s a taut, well-told story with plenty of suspense. Quite why everything is happening is a little vague, but the performances and the snappy filmmaking pull it through, and keep it entertaining.


FILM REVIEW: Criterion Collection
Director/Writer Jean-Pierre Melville | Cinematographer Henri Decaë | Starring Alain Delon, Gian Maria Volonté, Yves Montand, André Bourvil | Length 140 minutes || Seen at Castro, San Francisco, Monday 5 May 2003 (and on DVD at a friend’s home, London, Sunday 17 June 2018)

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Criterion Sunday 150: Bob le flambeur (1956)

There’s style here undoubtedly: its tale of a down-on-his-luck gambler looking for one last big score by staging a heist has been cribbed for so many subsequent films that it can’t help but feeling like cliché. The plot’s not all that later filmmakers (not least early Godard and all his fanboy imitators) would take — the use of music, the laid-back style, the pop culture references (all those film posters; Breathless really did owe a lot to Melville). The problem is — and I concede this may just be because I’ve seen all its imitators first — I wasn’t grabbed by it. It looks great but these guys all feel like empty archetypes, and the young woman’s ​characterisation appears to be undressing in various men’s apartments.


FILM REVIEW: Criterion Collection
Director/Writer Jean-Pierre Melville | Cinematographer Henri Decaë | Starring Roger Duchesne, Isabelle Corey | Length 102 minutes || Seen at a friend’s home (DVD), London, Sunday 26 March 2017

Criterion Sunday 5: Les Quatre cents coups (The 400 Blows, 1959)

In the eyes of many people — not least those defiant eyes in the freeze-frame at the end — this film was what kicked off the French New Wave. Certainly its star Jean-Pierre Léaud came to be a poster boy for the movement, reappearing not only as the same character (Antoine Doinel) in subsequent Truffaut films, but as a leading man for a number of other directors who would get their start at the same time (notably Godard in some of his more experimental dissections of film form, for example 1967’s Week End). It tracks the aforementioned Antoine, a troubled youth who rebels against unfeeling teachers and a lumpen proletarian home life. Like many Nouvelle Vague films, there’s little in the plot that’s groundbreaking — it follows familiar coming-of-age paths (though not to the same extent that Godard’s break-out work À bout de souffle cleaved to well-worn generic conventions) — but what remains fresh is the vigour of its vision and its feeling towards its protagonist. It sides with Antoine against establishment forces just as the Nouvelle Vague took on the cinéma de papa of their conservative forebears. I personally prefer Godard’s bold formal provocations, but Truffaut has a warmth of feeling that is of a piece with the other early Criterion selections, many of which exhibit an unflashy generosity and kindness of spirit towards powerless protagonists set apart somewhat from their society. If Renoir is an earlier master of such feeling, then Truffaut is his spiritual heir.


FILM REVIEW: Criterion Collection
Director François Truffaut | Writers François Truffaut and Marcel Moussy | Cinematographer Henri Decaë | Starring Jean-Pierre Léaud | Length 99 minutes || Seen at home (VHS), Wellington, January 1998 (and most recently on DVD at a friend’s home, London, Sunday 26 October 2014)