NekoHomey Purely Joyful Movie!

InformationRap This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

filippaberry84 I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

urigafni Odd one should be able to stumble into "Classe Tous Risques" only by chance; it should be on any "best of film-noir" list, including IMDb's.Lino Ventura is as good as ever; knowing of his dire, delicate family situation gives extra weight to his almost expressionless face and brief dialogues. Belmondo's restrained performance under Sautet's firm direction only shows what a wonderful actor he could - and should -have been."Classe Tous Risques" is utterly mininal, dry and cold, without Melville's artistic scenery, pretty faces and fancy cars. It is almost film-noir meet neo-realism. Davos' few, hard words to his children describing their life of secrecy from there on get a hold on your throat to the end of the film. The final sentence of the film - a voice-over telling of Davos' end in no more than ten dry, sombre words - leaves you with a hard punch in the stomach.A true jewel in the great crown of French film-noir.

MisterWhiplash The film Classe tous risques directed by Claude Sautet was not a film, to be honest, I had ever really heard of until the Film Forum in NYC said that they would have a 2-week screening of the film, with new English subtitles. When I also read that it was in the vein of the classic French crime films ala Jean Pierre Melville, I jumped at the chance to check it out (at best it would rank up with his great works, and at worst I would get some good popcorn in a great theater). It was well worth the admission, as Classe tous risques is one of those kinds of French films that is just waiting to be re-discovered (or discovered for the first time). With terrific, tense diligence, Sautet keeps the suspense at a tight pitch for the first forty minutes of the film, keeping a good (if not great) middle section, and then ending it up with what is always expected with these films, but with fascinating motivations by way of the characters. With a film in the vein of this sort, you know how it will end, but it's the cool, observant journey that counts.The film features a performance with some real truth and honesty, amid the "old-school" criminal's code, by Lino Ventura as Aldo, who at the start of the film (one of the best beginnings to a film in this genre and country) steals a hefty amount of money with his partner in crime). When there is a sudden, ugly twist of fate on a beach late one night, Aldo is again on the run with two little kids. He gets the aid of Eric Stark (Jean-Paul Belmondo, a role in tune with Le Doulos only with a smidgen more humanity and charisma), who is also a thief and drives him into Paris. But there are some problems with some of Aldo's old business partner's, and one old score may be just the right ticket. A couple of times the plot may seem to be leisurely, but it isn't. Like Melville, Sautet doesn't allow any fat to his story, and it's a very tightly structured film, with some good doses of humor here and there (I was sometimes grinning at the audacity of the criminals in the beginning chase sequence, and also with a particular woman who had a finicky thing with her cat and a fish).Along with a fine score by the great George Delerue, exceptional cinematography, and a mood that is seldom met let alone matched now adays, Classe tous risques is a reminder of that bridge between the real old-school film-noir, and the latter day crime films. Gangsters in these new sort of "thug-life" movies have a 1000th of the class and honor of the thieves in this film, and is a second banana to the works of Melville and Jules Dassin (a compliment I assure you). That it has a good realistic, moral edge helps as well.

noralee "Classe tous risques" feels like the granddaddy of "The Sopranos" in mixing the criminal and the domestic, and of the buddy film to feel as contemporary as "Reservoir Dogs."Even as these gangsters are affectionately entangled with wives, children, lovers and parents, they are coldly ruthless, and we are constantly reminded they are, no matter what warm situation we also see them in. They can tousle a kid's hair - and then shoot a threat in cold blood. The key is loyalty, and the male camaraderie is beautifully conveyed, without ethnic or class stereotypes, even as their web of past obligations and pay backs narrows into suspicion and paranoia, as the old gang is in various stages of parole, retirement, out on bail or into new, less profitable ventures. An intense accusation is of sending a stranger to perform an old escape scenario. It is a high point of emotion when a wife is told off that she's not the one the gangster is friends with, while virtually the only time we hear music on the soundtrack is when he recalls his wife.Streetscapes in Italy and France are marvelously used, in blinding daylight to dark water and highways, from the opening set up of a pair of brazen robbers -- who are traveling with one's wife and two kids. Rugged, craggy Lino Ventura captures the screen immediately as the criminal dad. And the second thug is clearly a casually avuncular presence in their lives, as they smoothly coordinate the theft and escape, in cars, buses, on boats and motorcycles, in easy tandem. This is not the cliché crusty old guy softened with the big-eyed orphan; these are their jobs and their families and they intersect in horrific ways.The film pulls no punches in unexpectedly killing off characters, directly and as collateral damage, and challenging our sympathy for them, right through to the unsentimental end, which is probably why there was never an American remake. It seems so fresh that it's not until Jean-Paul Belmondo enters almost a third of the way into the film, looking so insouciant as a young punk, that one realizes that this is from 1960. Sultry Sandra Milo has smart and terrific chemistry with him, from an ambulance to an elevator to a hospital bed.While the Film Forum was showing a new 35 mm print with newly translated subtitles, it was not pristine. The program notes explained that the title refers to a kind of insurance policy and is pun on "tourist class."

MARIO GAUCI I have just watched on Italian TV the excellent crime drama CLASSE TOUS RISQUES (1960; aka: THE BIG RISK), directed by Claude Sautet and starring the late Lino Ventura (in one of his best roles) and a very young Jean-Paul Belmondo. This film came out at the tail end of a string of French gangster thrillers of the 50s, the most famous of which was, of course, Jules Dassin's seminal DU RIFIFI CHEZ LES HOMMES (1954; aka: RIFIFI). I haven't watched RIFIFI in a long time but I plan to acquire the Criterion DVD some time or other. In fact, I have only postponed it, really, because of the reported audio-synch problem present on the disc's first pressings and, being a non-U.S. resident, Criterion's policy dictates that no defective discs delivered outside Region 1 territories can be replaced! Still, in light of THE BIG RISK, I may risk it [sic] all the same! When the film came out it converged with a spate of Nouvelle Vague releases including Jean-Luc Godard's A' BOUT DE SOUFFLE (1960; aka: BREATHLESS) starring, of course, Jean-Paul Belmondo himself. It is easy to assume that his characterization in THE BIG RISK is nowhere near as iconic as his Laszlo Kovacs in Godard's film, but after all his is a supporting role (albeit pulled off with confidence and charm) and he is all too obviously overshadowed by the underrated Ventura, who dominates the film from beginning to end. Ventura was a regular in gangster films of the period: he was in Jacques Becker's masterful TOUCHEZ PAS AU GRISBI (1953; aka: HANDS OFF THE LOOT!) playing the main villainous role and in which he conducts an effective vis-à-vis with nominal star Jean Gabin, but he then took the lead for Jean-Pierre Melville's magnificent thriller set in WWII, L'ARMEE' DES OMBRES (1969; aka: ARMY OF SHADOWS). Incidentally, next week Criterion will release Melville's BOB LE FLAMBEUR (1955) and I hope they can put their hands on other films by this French master, notably LES ENFANTS TERRIBLES (1950), from the play by Jean Cocteau; LE DEUXIEME SOUFFLE (1966; aka: SECOND BREATH), also starring Lino Ventura; LE SAMOURAI (1967), his undisputed chef d'oeuvre; the aforementioned L'ARMEE' DES OMBRES and LE CERCLE ROUGE (1970; aka: THE RED CIRCLE). It is worth noting that the last two may very well be future Criterion DVDs. For the record, I have recorded ENFANTS, SAMOURAI, ARMEE' and CERCLE (which I have yet to watch) off French TV, along with the atypical LEON MORIN, PRETRE (1961) and the little-seen LE DOULOS (1962; aka: THE FINGER MAN), both of which star Jean-Paul Belmondo. To go back to THE BIG RISK, it was dismissed at the time as old-fashioned in light of the Nouvelle Vague, though the few stylistic touches it has are effective exactly because they are sparse and unexpected. After an explosive start, the film relaxes its grip for the first half in order to establish plot (somewhat unusual in its emphasis on the domestic problems of gangsters) and characterization (particularly in eliciting audience sympathy for the lone anti-hero). The plot does have its improbable turns: for example, Belmondo's and Sandra Milo's characters are a bit too good to be true, aiding Ventura without batting an eyelid (despite the obvious danger involved) just minutes after making his acquaintance, while the ending is a bit of a letdown (the film is abruptly interrupted and the plot resolved with a hurried voice-over explanation)...but Ventura's solid performance as a man betrayed, quietly desperate at first but driven eventually to sudden eruptions of violence, holds the film firmly together and makes THE BIG RISK a classic of its kind. Other films by Claude Sautet I have watched are LES CHOSES DE LA VIE (1969), MAX ET LES FERRAILLEURS (1971; aka: MAX AND THE SCRAP-MONGERS), CESAR ET ROSALIE (1972), all on Italian TV, and VINCENT, FRANCOIS, PAUL ET LES AUTRES (1974), which I have recorded off French TV. All of these are low-key yet very interesting and thought-provoking films, aided a great deal by a superb selection of actors (Michel Piccoli in CHOSES, MAX and VINCENT; Romy Schneider in the first three titles; and Yves Montand in the last two). VINCENT, FRANCOIS, PAUL ET LES AUTRES is perhaps Sautet's best film: it co-stars Serge Reggiani, Gerard Depardieu (one of his first), Marie Dubois and Stephane Audran (an extended cameo, really, but effective nonetheless).As I have said, I wish that some of the films I mentioned by Claude Sautet and Jean-Pierre Melville, including of course THE BIG RISK, will one day be released on DVD. Supplements for such films may be hard to come by, I guess, but a quality print in the Original Aspect Ratio with a transfer to match are the least we could expect for them. I know that some of the above-mentioned films are already available on French Region 2 DVD but unfortunately most of them do not carry English subtitles. Although I do have quite a basic knowledge of the French language, I am still not fluent enough to get by without any subtitles. However, I would very much like to read your opinions of French Region 2 DVDs and will affect a search through the Mobius archives for that purpose, though I may still have to post my queries about particular French DVDs which I am interested in purchasing in a new thread in this Forum in the near future.