Any colour as long as it's rouge

Artykuł pochodzi z pisma "Guardian"

Jean-Pierre Melville is one of the most remarkable figures in world cinema, though he remains little known. Born in 1917, he became an obsessive moviegoer in the 1930s, acquiring an encyclopedic knowledge of American cinema, and served with the Resistance and the Free French in the Second World War.
He changed his name from Grumbach to Melville as a homage to one of his three favourite American novelists (the other two were Poe and London). After the war, he started making shoestring movies that were to inspire the French New Wave. He set up his own company, built his own studio and worked with Cocteau. When he died at 56, he'd made 13 films, six of them gangster movies.
Le Cercle Rouge opened in Britain in 1972, dubbed and cut by more than 40 minutes, and is now at last being shown again to coincide with an NFT retrospective. One of the great crime movies, it boasts a formidable cast in which cops and criminals dress in identical trenchcoats and snap-brimmed hats and exist to chase and be chased.
The plot turns on a handcuffed gangster (Gian Maria Volonté) jumping from the Marseille-Paris train and meeting, by chance, a crook (Alain Delon) who's been released from jail that morning and is heading to Paris in an American car he's just bought. The two join forces to rob a jeweller's in the Place Vendôme, and bring in an alcoholic ex-cop (Yves Montand) to help. On their trail is the police inspector (played by beaky-nosed comic star André Bourvil in a rare serious role), from whose custody Volonté escaped.
The film is a series of elegantly staged set pieces - the escape, the robbery, numerous shoot-outs. The tone is cool, the dialogue laconic, the pace deliberate. The themes are fate, honour and professionalism.
Melville borrowed from American cinema and his refined style was filtered back to Hollywood where followers include Walter Hill and Michael Mann. He once told a designer that a room in one of his films should have the same wallpaper as Robert Wise's Odds Against Tomorrow, and he claimed there were 19 variations in cops-and-robbers movies - all of them used in his films, though the only person to use them all in one picture was John Huston in The Asphalt Jungle.


to boast - szczycić się, chwalić się

crook - oszust, kanciarz

custody - opieka; areszt

deliberate - powolny; przemyślany

encyclopedic - encyklopedyczny

formidable - znakomity, wspaniały, świetny

to handcuff sb - zakuć kogoś w kajdanki

homage - hołd

laconic - lakoniczny, zwięzły

moviegoer - bywalec kin

remarkable - niezwykły, zaskakujący

trenchcoat - płaszcz (prochowiec, trencz)

wallpaper - tapeta


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Czytelnia - treści losowe

Główna Czytelnia Filmy Recenzje filmowe z Guardiana Any colour as long as it's rouge
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