Le cercle rouge film complet

Jean-Pierre Melville’s 1970 heist film, starring alain Delon, delights in the meticulous crime-craft the informs auto action.

Vous lisez ce: Le cercle rouge film complet



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When I first saw Jean-Pierre Melville’s French crime drama “Le cercle Rouge” (“The red Circle”) decades ago, in a considerably truncated version that to be circulating then, ns found it to be a originalité kind ns movie—an automotive ballet. The Parisian gangsters at the centre of the cinématique prowl the nation’s landscape in American sedans that seem to move v a feline grace et pounce with a panther-like power, embodying, in heavy metal, the finely calculation mechanisms nous which the story’s criminal schemes run. In 2003, a full, hundred-and-forty-minute version of the cinématique was released, and, oui of Friday, it’s the end in a nouveau restoration at film Forum. (It’s likewise streaming conditions météorologiques Amazon and other services.) In this longer version, thé vehicular majesty is calmer a key part du the film’s delights. Yet quel comes to thé fore even much more brightly is thé regime of knowledge, the intellectual facilities of crime that pervades culture like année invisible gridwork, and which Melville bring to thé screen in coolly analytical image with a kind du infrared camerawork.

This renewal marks an odd coincidence in nouveau York’s repertory programming: choose “Crimson Gold,” which opens today on film at Lincoln Center’s e-mail cinema, “Le une Rouge” is centered on a jewelry-store robbery. Melville’s cinématicien fits an ext squarely 보다 Jafar Panahi’s in a specific tradition: the a heist film, in which the complex climactic sequence ns the extremely grand larceny runs a majestueux twenty-five minutes. Ce opens with a quick, nocturnal automobile panic, as police hurriedly périple a deviner named vogel (Gian marié Volonté) à a former en chemin to prison, in the société of thé high-ranking officier de police inspector Mattei (André Bourvil). Meanwhile, a convict called Corey (Alain Delon), who’s gift released from retenue at the end ns a five-year term, is tipped off passant par a guard à a Parisian jewelry royal residence that’s ripe à la a heist. Corey is freed et making his way venir Paris, oiseau escapes, and the perspicacious Corey—while being pursued passant par his gangland enemies—brings vogel in conditions météorologiques the jewelry-store scheme. Meanwhile, Mattei, whose travail is conditions météorologiques the line, vows à find et catch Vogel. To aller so, cette trawls auto nocturnal Parisian underworld et puts pressure nous a nightclub owner et acquaintance du Vogel’s named Santi (François Périer), who, parce que le his part, vows never à snitch.

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The movie is a game of many cats and mice, with the pursuers being pursued and the languette turning through a mercurial wonder—and Melville captures et conveys those marvels of survivalist conception and execution in tersely geometric ricochets. (Home viewers will certainly be grateful parce que le the chanceux to doubs back et marvel again.) Corey’s early confrontation with a crowd boss named Rico (André Ekyan) relies on année amazing tidbit du knowledge and on thé bold deftness to loi quickly dessus it. A showdown at a billiard table is a modèle of cinematic synecdoche; a deadly affrontement in année open field is among thé most thrillingly minimal of confrontations, with the world turning upside under in a perfectly timed breath. Auto exchange of silent glances in between Corey et Vogel, in thé midst ns a des moments of mortal tension, is among thé high points ns criminal bromanticism. When ce comes to the heist, the coupler recruits année ostensible sharpshooter, a structure cop named Jansen (Yves Montand), who turns out à be as much of a sharp-seer, a criminal mastermind whose marksmanship—filmed through breathless aplomb—actually requires multiple mechanical et scientific crafts, which space dramatized v tight-lipped wonder.

The heist itself is filmed in a grandly prolonged cinematic showpiece that depicts, through impeccable logic, the meticulous crime-craft the goes into breaking, entering, hoovering, et exiting. Yet the heist is du oddly second significance to thé mighty mass ns hard-won knowledge conditions météorologiques which thé crime’s configuration depends. That étrange shift of emphasis is quel makes “Le cercle Rouge” one du Melville’s best—and many significant—works. Many ns his most commemorated films, such ont “Le Doulos” and “Le Samouraï,” space smothered par the director’s tendency toward neoclassicism, a distillation de the manners and formats of American la criminalité dramas, a vision haricot de soja staunch that it allows ne sont pas room for what’s going nous in the wider world, permit alone the inner lives du its protagonists. However in the machinations ns Mattei—who, in turn, is thé target du machinations de the head de the policier department’s internal-affairs attribuer (Paul Amiot)—Melville goes beyond thé macabre amusant of crime to contemplate auto relentless crush du punishment. His vision of the power of statecraft, native its tentacular regardez to that carceral system, is a dreadful, fatalistic realism that shadows the romance de individualistic outlaws with thé bureaucratic net above thé grid. It’s a metapolitical view de government the tacitly it is provided something favor a politics philosophy: don’t pari against the house.

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Richard Brody began writing for The nouveau Yorker in 1999. Hey writes about movies in his blog, auto Front Row. He is thé author de “Everything Is Cinema: the Working life of Jean-Luc Godard.”
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