Tag Archives: polar

Pour la peau d’un flic/ To Kill A Cop (Alain Delon, 1981)

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The more I view of Delon, the more impressive he becomes. In POUR LA PEAU D’UN FLIC, he directs as well as writes, produces and stars. He’s no Orson Welles. The film is but efficient fun. But he’s a lot savvier about driving a film to success than Welles ever was, and this was a big hit.

The film is a very cinephile one, with references to Cukor and his  HELLER IN PINK TIGHTS and LES GIRLS. We also see posters for DESERT FURY, THE BANDWAGON and many others. The most interesting aspect of the film is that it is already evidence of a certain playful postmodern turn.

George Cukor, connasse!

The film is a traditional polar based on a novel by Jean-Patrick Machette, just like TROIS HOMMES À ABBATRE, so there’s crime, and corruption, money laundering and drug deals. But here the darkness of TROIS HOMMES À ABBATRE is leavened by a comic tone. We see the kinds of quip-after-a-horror that we’d only see later in American cinema, with Schwarzenegger as the most famous practitioner.

It’s very self-referential of the genre and of Delon’s own star persona; Mireille Darc, his current girlfriend, makes a cameo and is insulted by a driver calling her by the name of oneJean of her films – LA GRANDE SAUTERELLE (above); Annie Parillaud, his future girlfriend, tells Delon how much more elegantly Belmondo reacts to pain (below).

The film also evidences the beginnings of a change in form that would be exacerbated through the eighties, not so much here by the way it intersperses the action (though that too, see below), but by the deployment of a soundtrack score (Crystal Gayle, Neil Diamond and many others, with Oscar Benton’s Bensonhurt Blues becoming a big hit), that requires a different kind of incorporation into the narrative and into the action. It’s a very enjoyable and interesting film.

The film is dedicated to Jean-Pierre Melville

José Arroyo

DEUX HOMMES DANS LA VILLE (José Giovanni, 1973).

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A plea against capital punishment, something director Giovanni knew something about. Under the name of Joseph Damiani, he was sentenced to death for three pre-meditated murders in ‘48. He’d been previously denied all civil rights for having been a collaborationist and a member of the PPF Fascist Party in ‘46’; and later, in ’49, he was sentenced for ten years for blackmailing hidden Jews during the Occupation. Damiani was pardoned after serving 11 years and encouraged to write about his experiences. Under the name of José Giovanni, he wrote 24 novels, a staple of Serie Noir. Some were adapted to films —  LE TROU (Jacques Becker, 1960); CLASSE TOUS RISQUES (Claude Sautet, 1964); LE DEUXIÈME SOUFFLE adapted first by Jean-Pierre Melville in 1966 and later by Alain Corneau in 2007 – and they too became classics of a kind. I want to know more about Damiani/Giovanni.

I’ve not read any of Giovanni’s novels. But his films are coarse, pulpy, lacking in subtlety and depth and visually perfunctory. DEUX HOMMES EN VILLE is a good example. It’s a message film, a plea against capital punishment. Delon is a bank robber released thanks to the support of his social worker, Jean Gabin. Everything goes well until the policeman who sent him in ends up in the same provincial town and begins to make his life so impossible Delon ends up killing him in a rage and paying for it with his neck. It all culminates in a preachy court-room scene where Capital Punishment is decried as Delon is found guiltuy and followed by a crudely conceived guillotine scene – where all the film has led to, its singular point. Gabin gives the only un-interesting performance I’ve seen him give: sure, smug, patronising. It is nonetheless a pleasure to see him with Delon. Depardieu also appears in a small role, making of this film an opportunity to see three giants of French cinema together. The best performance in the film is Michel Bouquet as the Javert-like inspector who hounds Delon’s ex-con to the point of insanity and onto the guillotine.

DEUX HOMMES EN VILLE  was a big hit. It was remade in 2014 as TWO MEN IN TOWN by Rachid Bouchareb, with Harvey Keitel and Forest Whitaker in the Gabin and Delon roles respectively. I saw it in a restored version that looks crisp but. given what a trial it was to sit through, I didn’t much care. Delon produced.

José Arroyo

Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, France/USA, 1969)

 

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I was amused to see that in the opening menu of the French DVD for Le clan des Siciliens/The Sicilian Clan, we’re invited to click on ‘Lecture du film’, instead of ‘Main Film’ or merely ‘Film’, thus inviting us to read, or engage in a reading. Of course, viewing always involves making sense of things, but ‘a reading’ also implies that there are depths, interpretations that need to be unearthed, complexities that need to be unravelled.

I found it rather funny because all of the pleasures that Le clan des Siciliens offers are shallow ones, which is not to say that they are not worth experiencing, or that they are so shallow as to not constitute pleasure at all.  Indeed the film offers many pleasures, all superficial, and each a  joy, beginning with the stars:  The publicity for Le clan des Siciliens advertised ‘Ensembles les trois grands du cinéma français’, ‘pour la première fois réunis à l’écran/ ‘French cinema’s three greats, together onscreen for the first time,’ a slogan which must have at least annoyed Yves Montand, Jean-Paul Belmondo and all the other French male stars who weren’t Jean Gabin, Alain Delon and Lino Ventura.

Le clan des Siciliens/The Sicilian Clan is very rewarding to look at as a genre piece; it is to a degree inspired by the jewellery heist genre, and the modish way of filming it, that made The Thomas Crown Affair (Norman Jewison, USA, 1968) such a big hit the year previously. It also contains the hijacking of of an airplane that would feature so prominently in the Airport films and help turn them into some of the biggest blockbuster hits of the 70s. The film also foreshadows the interest in the Mafia that would  find such extraordinary expression in Francis Ford Coppola’s Godfather films in the years to follow. And last but not least, in France it would revive popular interest in the ‘polar‘, the French crime thriller, an interest that has yet to wane.

The plot revolves around Roger Sartet (Alain Delon), a lifelong thief who Commissaire Le Goff (Lino Ventura) has finally brought to justice after many years. Sartet gets indicted but on his way to jail, he manages to escape the armoured and guarded vehicle transporting him there with the help of Vittorio Manalese (Jean Gabin), the head of a Sicilian clan with international connections operating from Paris. Manalese is just about to retire to his land in Sicily when Sartet comes to him with the perfect crime. Sex, double-crossings, money, jewels and the survival of the family itself will be at stake; all with Le Goff chasing Sartet’s tail and finding in the Manalese clan much more than even he bargained for. But though the plot is serviceable, it’s not what makes Le clan Sicilien such an exhilirating, if superficial watch. Here are some illustrations of the aspects of the film I loved most:

 

a) A mise-en-scène of various kinds of stardom, carefully deployed, and designed to be put to meaningful use, visually, narratively, and taking into account audience expectations to maximise the pleasures on offer.

b) Every shot is interesting to look at (far left), expressively lit (middle) and artfully composed (far right)

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c)  The shots, pretty, artful and beautifully lit as they are, are also composed to allow for plot and narration. Here, for example, director Verneuil and cinematographer Decaë — one of the very greatest —  create a composition that allows for the whole Sicilian clan to be seen. You see the grandmother, off-screen but relflected in the mirror knitting in the upper left hand corner, his children and son-in-law at table discussing the heist, Gabin centre and the recipient of all light, engrossed in the tv, a source of light, that will spur his grandchild, seen coming through the door-way with his mother, to reveal something he saw that will transform the narrative, that will twist the preceding events into the tailspin that will follow to the end. Significantly, the only one in the room but not onscreen will be the source of the trouble that will follow, the cause of the decimation of this ‘happy family’. It’s the work of at least very highly-skilled craftsmen

 

d) The kind of film that makes you want to find out where one can buy the accessories

 

 

e) The security system is what’s being discussed, the grand jewellery, by some of the greatest design houses of the century — Chaumet, Cartier, Van Cleef & Arpels and others —  is what’s being shown

 

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f) A hint of the perverse within the clan, at least homophile if not homosexual

g) a truly great score by Ennio Morricone. I’ve put extracts below with and without images so you can hear the sound itself, and how dialogue is then interwoven with it. But later also the sound accompanied by images so you can see how expressively put together it is. Who cares that Gabin is the least convincing Sicilian ever? He’s clearly head of the food chain in every other department, rightly head of the clan, and the flute and that ‘Boing Boing’ sound — so distinctive but one I can’t name the source of — will so memorably accompany, announce and dramatise his fate and that of the other protagonists.

– sound

Lino and Gabin filming the last scene with Verneuil

– what Verneuil and Decae manage to achieve with the help of Gabin, Ventura and the other filmmakers in terms of sound and image

Le clan des Siciliens was a blockbuster success, with 4.8 million spectators in France alone. The film probably benefitted from the publicity generated by Alain Delon being involved in the Marković affair, where Delon was questioned for the murder of his bodyguard, Stevan Marković. As you can see in the wiki page for it, it’s a scandal that implicated the highest levels of government, not only murder but also a soupçon of sex, and threats that nude pictures of the wife of the future president of the republic would be exposed. Alain Delon was often suspected of having connections with the Corsican mafia, and that extra-textual knowledge, along with the recent scandal, undoubtedly helped make Delon believable as a mafioso. He’s a pleasure to look at but it is Lino Ventura and Gabin (even with his accent) that give the performances worth watching. They, the set-pieces and the way the film looks and move are what made the film a blockbuster hit and continue to be the source of the many pleasures the film offers, shallow as they might be.

PS

 

In Les mystères Delon Bernard Violet writes of how the hijack scene on the plain is considered a great moment in film history/ un grand moment du cinéma; and how Delon himself is described as ‘secret, élegant, doué, consciencieux, mûrissant’/ secretive, elegant, talented, conscientious, maturing’/; grave, inquiet, inquiétant, volontaire, beau’/ serious, troubled, troubling, willing, handsome’; ‘félin, secret, inquiet, lucide, désenchanté’/ feline, secretive, troubled, lucid, disenchanted’; séduisant, élégant, mystérieux, audacieux, maître de soi/ seductive, elegant, mysterious, audacious, master of himself’ 1. Not bad.

 

José Arroyo

All qyotes from Bernard Violet, Les mystères Delon, Paris: Flammarion, 2000, pp. 288-289

Le tueur/ Killer (Denys de la Patellière, France/Italy, 1972)

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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.

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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