A narratively crude but visually elegant French cop flick, Le tueur is a fatalist noir that doesn’t psychologise and doesn’t explain. It’s told very leanly through a series of chases and shootings, often filmed on location, and well evoking the seedy underbelly of the Pigalle of the period, with its porn films, sex shops, shady cons. It’s got one musical motif, very effectively deployed throughout the film (and not to be confused with the dreary theme song at the end that sings out the themes of the film to us), and perhaps over-uses the zoom so characteristic of the period. Change is one of its themes, and we see it not only in the narrative  conflict between old and new styles of policing  but also in the film’s use of landscape and location. Le tueur is a document of Paris in the process of change, with the building sites that would become the Tour Montparnasse and the Forum des Halles used prominently and effectively.

Commissaire Le Guen (Jean Gabin) has spent seven years of his life catching ruthless killer Georges Gassot (Fabio Testi) only to find him judged mentally imbalanced and locked up in relative comfort. As the film begins Gassot, fakes his way through several tests and fights his way out of captivity. His brother François (Jacques Richard)is waiting for him outside and drives him away to the relative safety of Marseilles. However, Gassot can’t keep himself from going out of his hideout and into the city’s red light area, where he hooks up with Gerda (Uschi Glas), a prostitute from Hamburg but also gets spotted and returns to Paris with Gerda. François Tellier (Bernard Blier) puts pressure on Le Guen to catch him as quickly as possible and Le Guen, after seeing several of his ploys fail and only three months from retirement, places Fredédo Babasch (Gérard Depardieu) in jail so as to befriend François, who’s been caught, and help capture Georges.

Almost a century of cinema greatness in twenty seconds: Gabin and Depardieu share a shot.

            What’s unusual about Le tueur is that, as the title suggest, the protagonist is the killer. He’s not crazy but he’s ruthless. As the film begins we’re told that he’s fated to have bad luck. He knows it; even attempts to cut the bad luck line out of his hand with a knife; all he dreams of, dreams he shares with Gerda, is to get a bit of money and run off to a hot country. But it is not to be.

Fabio Testi, is very handsome, very athletic, and very inexpressive. I found him perfect for the part. The film has Gabin, with watery grey/blue eyes that have seen everything and can hide as much as they reveal. His Le Guen is an old school strategist, not above trying to orchestrate events to get the justice he believes Gassot deserves and that the courts won’t grant him. There’s also Bertrand Blier as Le Guen’s boss, with his crushed hound dog face, every look an expression of disappointment and evocation that nothing good in the world will happen ever. In the last quarter of the film, Gérard Depardieu appears in one of his first roles, a live-wire whose every movement is energy, humour and hope. And in the middle, what they’re looking for, who they’re all chasing after is….a blank.

The world that this cypher, this bearer of bad luck, this dreamer who’s every attempt to realise that dream makes life more of a nightmare, is beautifully framed and lit for us by the great Claude Renoir in the Eastman colour that so vividly brings out certain blues and yellows and reds. Here, as is right, blue predominates. I’ve put a considerable selection of stills from the film, in chronological order, so you can appreciate, the compositions, the use of colour, the artful creation of this dark, blue, world that the film presents so well.

In spite of its cast and it’s look, the film has been accused of offering the same satisfactions as episodic television; a judgment I find harsh but understandable; how one appreciates this might depend on whether and how much one values lean spare storytelling and a relative lack of psychologising.

José Arroyo