Redwarmin
This movie is the proof that the world is becoming a sick and dumb place
Borgarkeri
A bit overrated, but still an amazing film
Skyler
Great movie. Not sure what people expected but I found it highly entertaining.
Kirpianuscus
For a part of public, the actors are the lead motif to see it. for other, the plot, reminding Ocean Eleven. a French Heist movie, good performance of Delon, same Gabin in inspired use of the nuances of character and the perfect end. nothing new at first sigh. in fact, the old flavors are the lead motif for see a film about a hold -up, its levels and portraits of men inside it.
writers_reign
This is referential to a degree; the young Turk and the seasoned pro was done better in Alain Corneau's Le Choix des armes with Gerard Depardieu taking on Yves Montand and if it comes to that Montand was integral to a better 'caper' movie, Jean-Pierre Melville's Le Cercle Rouge but whilst this one takes its time to get going Henri Verneuil racks up the tension with the heist itself, which is, of course, the centre point and then he tends to let himself down by a slight variant of the end of Kubrick's The Killing. Nothing with Gabin is ever going to be a waste of time and though Delon developed into a fine actor he is a tad too mannered here. There's a good opening sequence in which Gabin, on the train taking him home out of the slammer (though we don't know this yet) listens scornfully to the other commuters comparing dull lives but after this there's something of a hiatus til the caper itself. Worth a look.
desperateliving
I don't know why this movie is so little-celebrated -- it's terrific. It's so assured. It brings in the worn and smooth Jean Gabin for his last job (of course), and through some exchanges of witty banter gives us some time to get to know him and his wife before introducing his former cellmate, Alain Delon, as the leather-jacketed toughie. They're both excellent here, especially Gabin, who's polite but still certainly in control. He gives a wryness, like a fat Orson Welles, to his performance. The hot-tempered Delon gives a jolt of vitality to the picture. The entire movie is nice and slow, perfectly glamorous, the best of swinging, jazzy '60s cool. In a conventional movie, when Delon is told to seduce a ballerina so he and Gabin can gain a backstage pass to the theater, the courting would have ended with him buying her a drink. But in this film, it lasts for a good half an hour. And it's never boring. Those nice, long sequences explain everything fully. Not the plot, per se, but elements of the plot -- Delon's seducing of the dancer (which he mucks up more than once); Delon's brother-in-law, who in a normal movie would have been nothing but a side character, here is fully-fleshed out; Gabin's wife. And that long, languorous rhythm is what makes the major, lengthy set piece so memorable -- it's where Delon slinks around, slipping up occasionally, climbing up stairs, crawling through a ventilation shaft, and hiding in an elevator (very "Mission: Impossible"), eventually leading to the robbery. And it has one of the best endings to any caper movie that I've seen. 9/10
franzgehl
An old gangster (Jean Gabin) wants to plan a last robbery before retiring. He asks a young man (Alain Demon) met in jail for a partner. The story may look classical but it's played very fine. The most interesting thing in this movie is the dialogue by Michel Audiard. It's amazing ! As good as ever, so watch this film in french language.It's also the farewell to an old world which disappears little by little because the time of old gangsters is over. It's also funny to hear the characters talk in french postwar slang language.
