Criterion Sunday 448: Le Deuxième souffle (1966)

The year before Le Samouraï and Melville’s last film in black-and-white. They may all be wearing trenchcoats and being laconic in both films, but it’s incredible the way this feels like another era, a holdover from the 40s. There’s something almost Bressonian in the way that the early scenes unfold (though that’s perhaps no surprise given it’s a prison break): no music, just people going through the motions, wordlessly and almost like a dream. Gu (short for Gustave, and played by Lino Ventura, a stocky stand-by of the gangster film since Touchez pas au grisbi) has just broken out of jail and is now looking to retire, but — as is the way — is sucked back into one last job. How badly could it go? Have you ever watched a movie? You know how badly it could go. For all that, Melville is clearly starting to strip back his style, such that the trenchcoats and the hats, the Gallic sangfroid, the guns and the gangsters, the deep expressionist shadows of the film noir genre, all of these things seem to hold more depth in them than the plot itself, though it’s all very well done, and by this point in his career Ventura has an iconic energy that is perfectly channelled here.


FILM REVIEW: Criterion Collection
Director/Writer Jean-Pierre Melville (based on the novel by José Giovanni); Cinematographer Marcel Combes; Starring Lino Ventura, Paul Meurisse, Raymond Pellegrin, Christine Fabréga; Length 144 minutes.

Seen at home (DVD), Wellington, Friday 9 July 2021.

Criterion Sunday 385: L’Armée des ombres (Army of Shadows, 1969)

Melville was always a stylist and that much has been clear in the films so far featured in the Criterion Collection, titles with Alain Delon such as the remarkable Le Samouraï from a few years earlier, or Le Cercle rouge from the following year. These films, along with his 1956 classic Bob le flambeur, are crime dramas in which laconic men don hats and heavy coats, look cool and carry out their crimes like elegant statesmen. Here our protagonists are also criminals, but only in the eyes of the Nazi-controlled Vichy government they are resisting; it’s set during World War II, with solid, stocky Lino Ventura playing Philippe Gerbier, head of the Marseille resistance. From the very start there’s a sense of the danger, as he’s picked up by the police and sent for questioning (involving certain torture and death), from which predicament he escapes this time, but throughout the film that heavy sense of impending death hangs over everyone. The film is thus a series of setpieces of characters just buying a little more time from their fate as they try to organise resistance to Nazi occupation. When one of their group is picked up, Simone Signoret’s Mathilde steps in, while meanwhile Gerbier has taken a submarine to London to meet the head of the resistance, a philosopher called Luc Jardie (Paul Meurisse), and coordinate strategies. At no point is there any particular glory (aside from the unseen hand of de Gaulle awarding Jardie a medal in London), just constant attempts to outwit the bad guys and put death off for one more day, all in Melville’s usual steely blue set design, noirish shadows hanging as heavy as the coats and impeccable suits his leads always wear. The cumulative effect is deeply emotional, just for knowing how impossible the situation is that they are all in, and how little they could know about what might happen after their inevitable deaths, but that we can watch knowing they didn’t ultimately die in vain.

CRITERION EXTRAS:

  • There are a series of extras dealing with the work of the Resistance, among them Le Journal de la Résistance (1945), an anonymously directed and shot wartime documentary. At just over half an hour, this is narrated by Noël Coward (at least, the English version) and shows footage shot by Parisian cameramen of the battles that led up to the liberation of Paris in August 1944. We see fragments snatched from windows and hiding places of tanks rolling up the Champs Elysées, of dead French bodies piled in a courtyard as evidence that the Germans have fled, as shots ring out and barricades are lifted by Parisians quickly becoming aware that things have taken a turn. The Allied tanks aren’t far away as the citizens take up arms to drive back the Germans ahead of the final victory. It’s all very spiriting and narrated with a sense of pomp and idealism, but you’d expect that as a document made to strengthen morale in the dying days of the war.

FILM REVIEW: Criterion Collection
Director/Writer Jean-Pierre Melville (based on the book by Joseph Kessel); Cinematographers Pierre Lhomme and Walter Wottitz; Starring Lino Ventura, Paul Meurisse, Simone Signoret, Jean-Pierre Cassel; Length 145 minutes.

Seen at home (Blu-ray), Wellington, Sunday 3 January 2021.

Criterion Sunday 35: Les Diaboliques (Diabolique, 1955)

Acclaimed as a classic psychological thriller, Les Diaboliques was an inspiration for Hitchcock’s Psycho (he worked another novel by Boileau & Narcejac into Vertigo, after all) and a whole strand of creepy haunting horror films. There’s certainly a tension throughout between the supernatural and the all-too-real, though it’s never in doubt as to what an unpleasant, controlling character headmaster Michel Delassalle (Paul Meurisse) is, simultaneously keeping his wife Christina (Véra Clouzot) in check while carrying on with his mistress Nicole (Simone Signoret). Putting the viewer onside with Christina and Nicole’s plot to do away with Michel is a key to the way the subsequent events play out, and though the end title card may warn against spoilers, the set-up probably seems quite familiar thanks to its influence over subsequent filmmaking. Clouzot is excellent at building suspense through the womens’ plotting and then over the uncanny turn things take when he’s gone, using the shadows in the black-and-white photography to good effect. There’s a nasty streak to the film, but it remains an effective genre exercise, even 60 years on.


FILM REVIEW: Criterion Collection
Director Henri-Georges Clouzot; Writers Clouzot and Jérôme Géronimi (based on the novel Celle qui n’était plus by Pierre Boileau and Thomas Narcejac); Cinematographer Armand Thirard; Starring Simone Signoret, Véra Clouzot, Paul Meurisse; Length 117 minutes.

Seen at a friend’s home (DVD), London, Sunday 26 April 2015.