“The cold restraint with which Melville films the opening bank robbery and the central heist suggests emotion with an exquisite subtlety that borders on hysterical repression – and Delon, with his ice-blue eyes and mask-like stillness, serves the director’s purposes perfectly, as does Deneuve, who, as a platinum princess playing on both sides of the law, gives away nothing, either to her two men or to the camera. – Thomas Quinn Curtis, International Herald-Tribune Who can resist him with his world-weary nonchalance and his incipient brutality? He is a hero of our times.”
“Delon is at home in the shadowy underworld of dubious nightclubs and shady hotels, has an easy way with gangsters’ molls, is quick on the trigger and given to beating up suspects when they are dragged to headquarters. “Chilling perfection! The opening bank robbery (pale Hokusai lighting, blue sleekness and seaside melancholy, trenchcoats, masks) an entire oeuvre… Everything points to the disintegration of Melville’s loyalty motif, honor all but evaporated from both sides of the game.” Melville’s final work features iconic minimalist performances from the star trio and two trademark heists, the first a near-wordless bank job on a deserted, bleakly rain-sodden seaside street.
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TV star and Rambo’s mentor) both love Catherine Deneuve – only trouble is, one’s a post-burn-out cop and the other’s bent on the heist of a lifetime.
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With barely a word spoken between them-mostly a series of virile glances-Delon and Crenna paint an idealized portrait of masculine camaraderie, one that’s exposed at the end of Melville’s bracing last testament as a soul-shattering illusion.(1972) Piano-playing Alain Delon and nightclub owner Richard Crenna (U.S. The commissioner is told about this 'job' by an informer. The money is to fund an important drug loading.
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But it’s the quasi-mythical, ultimately tragic bond between Simon and Edouard that gives the movie its emotional heat. Un Flic (118) 7.0 1 h PG During winter, in a ski resort, a bank is burgled by a gang whose leader is Simon, a friend of Commissioner Coleman. There’s a woman involved, of course-Catherine Deneuve’s luminously vacant Cathy-as well as the City of Light crushing all the characters with rampant venality (call it an unfortunate product of the time when homosexuality and transvestism were used as quick-pick signifiers of corruption). (You'd expect nothing less from the great French director behind moodily elemental thriller like 1956's Bob le Flambeur and 1967's Le Samouraï.) Plus, it’s a terrific prelude to the film’s stripped-down battle of wits between Simon and the jaded Parisian police commissioner, Edouard (Alain Delon), who’s slowly catching on to the clandestine robber’s criminal dealings. It’s a Zen-suspenseful set piece, all rock-steady compositions and hypnotically primordial atmosphere, as much a philosophical state of mind as a ticking-clock tension generator. There is un flic (a cop), but we begin with les voleurs: four thieves, to be exact-led by suave nightclub owner Simon (Richard Crenna)-who take down an isolated seaside bank in the chillingly spare opening sequence of Jean-Pierre Melville’s final feature.
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