Review CL - Le samouraï

Review 150
Le samouraï (1967)

I have reviewed Alain Delon films before, and I've mentioned some of the classics, but I figured it would be fair to review the first film I ever watched him in, Jean-Pierre Melville's Le samouraï (The Samurai for the anglophones in the audience, although the English-known title is the same as the French one, but with a capital on the "s". I'm done). I think my boyfriend was trying to impress me with this film before we started dating, and he definitely did. This is one of three partnerships between Delon and Melville, and trust me when I say that I enjoyed each of those films. I've also checked out other films from Melville, including Bob le Flambeur, and Melville really has it going down. But putting the two together just gives me some of my favourite films ever. Pure eye-candy all around with frigid awesomeness. Le samouraï also stars François Périer, Nathalie Delon, and Cathy Rosier. Let us begin!

Jef Costello (Alain Delon) is a professional hitman, normally known to be superb in his work. However, after killing a night-club owner, a group of witnesses and a persistent head investigator (François Périer) may be enough to overthrow his fake alibis and send him away to prison.

If any of you love French cinema, or super clean, beautiful cinematography, or love Alain Delon/Melville, you've seen this film and don't need any convincing to give it a second watch. For those of you who aren't familiar with any of this, well, you need to have an appreciation for cinematography and crime films in order to enjoy this one. It's truly a film from the sixties, taking its time and showing us the beauty of an image as opposed to focusing on dialogue. Definitely very French as well, which I am biased to, of course. Consequently, this film might not be as accessible to modern viewers as an American film, we'll say, but if you want an initial look into some real class cinema, Le samouraï is the way to go.

Honestly, I guess my review could be longer, but the film is great. I especially love the chiaroscuro feel you get in this film - Melville is not afraid of showing us darkness. The opening shot is just Alain Delon's character lying in bed, smoking, with our focus on his slender, large windows. I mean, that enough to me was a sigh of happiness. Melville's concentration on the film's palette being muted (at least in the beginning) is obvious and soft on the eyes. Otherwise, placements of characters and angles are great. I would expect nothing less. It's not crazy and did anything that particularly had me jumping in my seat, but it was still very pleasurable.

Acting was great. Alain Delon is very quiet and serious in this one, which was great, and François Périer was great, but I really liked the female characters. Nathalie Delon is not very present in the film, but her way of keeping cool and innocence in loving Jef Costello was great. I also liked Cathy Rosier's portrayal as Valérie, the pianist. Again, subtle. Like the palette, no one is screaming and yelling and being outrageous, but I liked her coolness.

What else now but the plot? It's a typical crime plot - nothing really hidden happening here. I remember the first time I watched the film, I was skeptical of the title, but it holds its meaning in the end. But yeah, Le samouraï is not trying anything crazy here. It's a fun movie, but is taken to a new level with the aesthetics of it.

That's all I really have to say about Le samouraï. It's a film that isn't daring to go crazy, but it definitely has a lot of beauty to it. If you like old crime films, check it out. If you like beautiful shots, check it out. If you like a super chill Alain Delon, check it out. And if you're familiar with Melville and never checked this one out, that's a crime itself. Happy viewing!

Psst... Sorry about the roman numeral screw-up. Everything should be in order now.

Review CXLI - The Girl on a Motorcycle

Review 141
The Girl on a Motorcycle (1968)

I really have been on a roll with reviews this month! It does help that I have been watching quite a few films during the week as background noise to some art pieces I've been working on. This time we have an Alain Delon film going for us because, well, I never would have checked it out if it wasn't for Alain Delon. It is Jack Cardiff's The Girl on a Motorcycle starring yours truly, Marianne Faithfull, and Roger Mutton. Let's jump right in.

Rebecca (Marianne Faithfull) has recently married Raymond (Roger Mutton), but finds herself riding her motorcycle to meet her lover, Daniel (Alain Delon).

I... literally have nothing else to say in terms of plot. It really is as simple as a love triangle where we're shown how impotent Raymond is and how erect Daniel is. Meanwhile, everyone is drooling over Rebecca given her thin frame fitting like a glove into the leather suit. She criticises the attention she receives, but criticises the men who ignore her. "He must be a homosexual," she claims of one of them. So honestly, in terms of plot, it really just follows a woman who is egocentric, knowing she is stunning and falling into place with Raymond as a "protection" against Daniel. Why? Because Daniel doesn't love her as he lost his true love once.

Really, this film has nothing going on. I know there's some type of critique on the Vietnam War in one scene when Rebecca sees armour recruitments riding around on tanks with "flowers on their heads" as she claims. What was it saying? Probably that the war was bad given Rebecca's statements. Otherwise, we mostly get a view of Daniel criticising love and asking his students whether or not marriage is even worth it when you can have your cake and eat it too, that is, have sex but never commit. But it was very downplayed in my opinion since Daniel was in love with a woman once. I mean, Rebecca most love him given that she keeps going back to sleep with him, so maybe this is showing us that women think they can get a man by sleeping with them? Also that she is a complete jerk for marrying Raymond? I mean, it's implied he knows, but I don't get why he wouldn't say anything.

I'm grasping on straws here, so really, the only thing going for this film is the erotic tension from Marianne Faithfull, but even that is barely used. I mean, the opening scene of her putting on the catsuit was nice, but if I was a guy, I would be pissed. You literally get barely anything else. And since I'm a woman, did I get Alain Delon? Well, yeah, but I'd rather watch Le samouraï where the focus is on him and I have an interesting story. Here, it's just boring and uninspired. I feel like Jack Cardiff wanted to make a film with just some visual appeal and tried to get everyone in by having Marianne Faithfull and Alain Delon (Roger Mutton was good-looking too, but whatever) starring in it, and then delivered absolutely nothing.

In the end, The Girl on a Motorcycle is summed up in the title. If you're looking for a sexy film, go elsewhere because this one really doesn't give you anything you wanted.

Review CXXIV - Carambolages

Review 124
Carambolages (1963)

Welcome to 2016, guys! Nothing has changed, but I thought I'd start the film off with a- actually, let's not spoil the surprise. This one is a French film from 1963 starring comedy man Louis de Funès called Carambolages, or Carom Shots (a reference to pool balls) in English, directed by Marcel Bluwal. It also stars Jean-Claude Brialy (who apparently starred in a Luis Buñuel film - cool!), Sophie Daumier, and Michel Serrault (La cage aux folles! Aww yeah!). This actually starred some pretty notable people now that I looked into it... Nice!

Paul Martin (Jean-Claude Brialy) is looking to improve his title and get rid of his debt. He works at an advertising company under director general Norbert Charolais, a tyrant and crazy man, is engaged to the daughter of a superior, but is secretly sleeping with his secretary. His dream is to become director general of the company, and with the help of his brilliant schemes, he may just reach the title he's always wanted.

Carambolages is cute. It starts off with a message warning against those who oppose the following film will be impitoyablement destroyed. Of course it's just the announcement for the advertising company, but I was like, "What?" right off the bat. And the moment the video finishes, you can a clear shot of Louis de Funès and his discontentment. Hilarity follows, but in a slightly disorganised manner. We quickly find out about Paul Martin's woes to try and pay off his rising credit. But unlike a normal man, after he finds out that marrying a superior's daughter for money won't work, he decides to try and kill off the head boss. And the boss, in the meantime, is trying to kill off the man who he believes is sleeping with his wife. The film is a whole run around where you're waiting to see who will die, who will live. Probably my favourite part was the woman with the man's voice. I don't really understand what the heck it was about, but it gave me a good laugh.

I actually don't have much to say about this one. I mean, it was goofy, but I missed out on some dialogue given the super fast talking at times. Next time I watch it, I'll check it out with subtitles (and I recommend you do as well!). I feel like there were subtle jokes that I completely missed out at times unfortunately. While Carambolages was not a big favourite of mine, I thought it was a nice change from comedies of a more recent era. This one was dark, but not too dark, and while it had some political messages behind it, it wasn't aiming to shove all sorts of different messages down my throat (or, at least, given that I missed out on some dialogue, I might have missed it). The comedy was genuine and had some nice, cinematic twists at times.

Now I'm sure you're asking why I would even bother to bring this one up since I'm struggling to find something to say. Well, because there is an appearance from someone special right at the very end of the film. That's right - it's Alain Delon! He is never credited, but it was a great appearance nonetheless - one not necessarily expected if you didn't know!

Bottom line, Carambolages is a cute, dark comedy about work culture and trying to get higher in a pyramid. Maybe you get to the top, but remember, there's always someone at the bottom who might be ready to topple you down...

Sorry, only got it in French!

Review XCVII - Rocco e i suoi fratelli

Review XCVII
Rocco e i suoi fratelli (1960)

I debated reviewing this film because Luchino Visconti's Rocco and His Brothers is... special in its own Italian way. But then I realised I watched this film for Alain Delon, and I should review this film for the other Delon lovers out there. The film also stars Renato Salvatori, Annie Girardot, Renato Terra, Rocco Vidolazzi, and Spiros Focás. Oh, and Katina Paxinou as the mother. Oh, and ignore the Russian poster - it just looked the prettiest.

The Parondi family is forced to displace from the south of Italy to Milan in the north in order to find work. They meet up with the oldest son of the family, Vincenzo (Focás), who is getting it on with a girl (Claudia Cardinale) - I mean, settling down. The family doesn't get the welcome they were hoping for and soon realise Milan is not exactly the city they thought it would be. And a woman (Girardot) might just cause the family to close the only thing they know - each other.

After that completely awful synopsis, let's actually talk about the movie. I finished another Luchino Visconti film prior to Rocco e i suoi fratelli - Il gattopardo, or The Leopard in English. That one also stars Alain Delon! But seriously, it's a long film that I had trouble getting into, though the shots were beautiful, and the final scene was particularly heart-breaking. Nonetheless, the film aged well. It was released in 1963, but it's still watchable today. Granted, it is set in the 1800s, but the acting and the way the plot was adapted is timeless. Rocco e i suoi fratelli? Not really. The film is very 1960s. The acting isn't bad per se, but the plot is just so... melodramatic. Everyone is so melodramatic. I had a good chuckle here and there over the crying and ranting and rape (!), but the film really didn't age well. Even Alain Delon was not enough to hold my attention. While I make the film sound bad, it's just a bit boring and aged.

Rocco e i suoi fratelli has not aged well in my opinion. The idea of this family having to move for work and finding itself in a heartless town is touching, but you can get the same idea from another better film, I'm sure. Watch this film for the absolute melodrama and the innocence of Alain Delon. Fine.

Review XCV - Purple Noon

Review XCV
Plein soleil (1960)

This review will be a bit different. Instead of the usual written format, I thought I'd post some pictures of why this film should be watched. Warning - your heart may explode.

This alone should tell you you're in for a ride.

Alain Delon's character, Tom Ripley (with a France French accent), inspecting a watch. All right, I can handle this.

After delivering O'Brian to the studio, everyone has their eyes on Delon, as expected.

The portrait of this man is just... Sigh.

The mirror play in this scene... Alain Delon in this scene.

See? What did I tell you about the mirror play and Alain Delon? Shit, man.

Tom Ripley can't steer this ship, but I'm sure he's good on other ones, if you get my innuendo, hehe.

This scene with Marge as they discuss him leaving is particularly titillating. But yeah, Philippe Greenleaf (Maurice Ronet) is a pretty big romantic too!

Honestly, I was very impressed with the mirror play in this film. Here is a great example!

Now that Greenleaf is dead, Ripley will prey on his love, Marge. Check the look in his eyes.

The portrait! The portrait!

Italy really is beautiful. The film captures it well!

Speaking of things this film captures well...

Here is another example of the preying. Note the eyes again.

Because those fish were on camera a long time. They look very happy!

It's blurry, but this portrait. Oh my goodness. That smile. That face.

Handling three heads in one shot. And Delon's face.

The mirror play of this scene. The Alain Delon of this scene.

The way Delon- I mean, Ripley grabs a woman.

THE PORTRAIT. THE PORTRAIT. ABORT. ABORT.

Marie Laforêt has beautiful eyes. Great portrait. But seriously, how can she be calm when she's looking at THIS:

I'm out. The sensuality is too much. Ripley has Marge.

And how the film ends. A beautiful view and Delon handcuffed away.

The end.

But seriously, the film was interesting. It's adapted from The Talented Mr. Ripley written by Patricia Highsmith (I never read it, unfortunately, and never saw the 1999 film). It was interesting and the shots were beautiful (see above). René Clément did a good job! I didn't like the ending, and neither did Patricia Highsmith apparently. However, she did praise Alain Delon's performance. I can't agree more. In Le samouraï, Le cercle rouge, Un flic, and even L'eclisse, you don't really see Alain Delon act. This was the first time I saw him actually going about on screen, and I enjoyed it. Granted, I did watch this film for eye candy alone, but hey, I got a good film out of it too. So heterosexual men and homosexual women, don't push this film away - it really is great. And for the rest of you, see above.

Review LXXXVII - L'eclisse

Review LXXXVII
L'Eclisse (1962)

Guys, Alain Delon is, or was, a sexy man. After watching Le samouraï, my boyfriend and I made sure to check out all the Jean-Pierre Melville and Alain Delon films. The two together were like peas in a pod, just like the wonderful John Carpenter and Kurt Russell films released in the eighties. However, it was Alain Delon's lovely eyes that caught the viewer's attention, so when I found out about Michelangelo Antonioni's L'eclisse, starring yours truly and the beautiful Monica Vitti in a love story, well, I pounced.

Vittoria (Vitti) breaks off with her lover one sunny day and, after visiting her mother at the stock market, meets up with a young, handsome man, Piero (Delon). However, their relationship may be more strenuous than either anticipated.

This film was... long and drawn out. I was very disappointed. The opening scene, while brilliantly shot, was so long. We meet Alain Delon's character at the stock market, but I think we finally saw Vittoria and Piero engage in something maybe two-thirds of the way into the film. The film is over two hours. So yeah, I didn't get any Alain Delon booty or nothin'. Sourly disappointed. However, if you don't go into L'eclisse expecting a very focused plot, you'll enjoy the beautiful shots. I've never seen another Michelangelo Antonioni film, so it is possible his films are primarily artistically appealing shots with a lot of meaning and not so much for the regular folk. However, I did read that he didn't particularly like the ending he chose, which I found was quite out of place. Either way, had I gone into the film without expecting a relatively normal romance, I might not have been as disappointed. But seriously, the woman would show affection, then walk away. I don't even know how Alain Delon kept going.

L'eclisse is a look into my relationships, or that is my guess. We see a lack of complete devotion to the other, and in the end, sorry for spoilers, the two never meet up again even though they both offer promises of seeing each other soon. Apparently this is the final film of a triology specifically about modern age getting in the way of life. The stock market gets in the way of Vittoria and her mother, and maybe Vittoria goes for Piero because of his position in the stock market, revealing that their doomed affair. It does this well, but damn man, the film can still feel extraordinarily long sometimes. Yes, yes, beautiful shots, but sometimes I'm not Koyaanisqatsi patient, especially when I expected Alain Delon, sniffle.

The film takes a relatively good perspective on contemporary living and its downfalls, though it can be long. Also, this film doesn't have a lot of Alain Delon in it, so don't go in expecting him. Otherwise, you'll be very sad indeed.

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