Jean-Pierre Melville - Le Cercle rouge (1970)

Category: Action , Drama , All-In-One Movie

Tag: All-In-One-Movie

Description for Jean Pierre Melville Le Cercle rouge 1970

Le Cercle rouge Criterion (1970)
141 min | XviD 704x384 | 1350 kb/s | 192 kb/s AC3 | 23.97 fps | 1.5 GB
French | Subtitles: English, Spanish and Italian .srt | Genre: Crime
Master thief Corey (Alain Delon) is fresh out of prison. But instead of toeing the line of law-abiding freedom, he finds his steps leading back to the shadowy world of crime, crossing those of a notorious escapee (Gian Maria VolontÃ©) and alcoholic ex-cop (Yves Montand). As the unlikely trio plots a heist against impossible odds, their trail is pursued by a relentless inspector (Bourvil), and fate seals their destinies. Jean-Pierre Melville's Le cercle rouge combines honorable anti-heroes, coolly atmospheric cinematography, and breathtaking set pieces to create a masterpiece of crime cinema.

The Red Circle
Melville's highly-regarded film deserves it's reputation and patrons. Philosophics rule at the expense of plausibility; no problem. Ambivalent eccentricities abound between cops and robbers, giving us one of the clearest visions of the fine line between law enforcement and criminal behavior. Above all, Melville's clearly delivered notion that "we are all guilty" is explored methodically, cleverly and with a stylish clinical precision. The subtle background jazz is by Eric DeMarsan; very cool. The blue-toned photography is by Henri Decae; icy. The cast is exceptional and Alain Delon is the king of the trench coat. Very smooth. The Criterion DVD captures the film with accuracy, restored to its full 140-minute length and proper 1.85:1 widescreen ratio.

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El cÃrculo rojo
Un ladrÃ³n llamado Corey y un fugitivo llamado Vogel unen fuerzas para organizar un calculado robo a una joyerÃa de ParÃs. Tienen de su lado a algunos de los mÃ¡s experimentados criminales de la historia del cine, pero sobre sus pasos va no sÃ³lo un policÃa implacable, sino tambiÃ©n el destino, ese viejo enemigo de los hÃ©roes de Melville.
RififÃ en 1950 habÃa definido para siempre las bases del gÃ©nero del robo perfecto. Pero fue Le Cercle Rouge la que lo cristalizÃ³ de una forma que Once a la Medianoche y La Gran Estafa sÃ³lo pudieron soÃ±ar. Uno de los grandes filmes noir de todos los tiempos, presentado en su versiÃ³n completa y remasterizada.

Melville Ã son sommet. En filmant une fois de plus une histoire d'hommes, solitaires, rÃ©unis pour un casse dans une bijouterie, et traquÃ©s par un commissaire tout aussi solitaire qu'eux, le rÃ©alisateur du SamouraÃ¯ nous livre lÃ son film somme. On y retrouve donc toute la patte melvillienne : une distribution prestigieuse qui rÃ©unit fidÃ¨les (Alain Delon, FranÃ§ois PÃ©rier) et nouveaux venus, impressionnants (Bourvil dans son dernier rÃ´le, Yves Montand) ; son fÃ©tichisme pour les objets â€“ le chapeau, l'impermÃ©able, la voiture, le revolver â€“ son goÃ»t pour les atmosphÃ¨res masculines â€“ les appartements vides et sans Ã¢me, le motel, la boÃ®te de strip-tease â€“ son filmage Ã©purÃ©, Ã©paulÃ© par une admirable photo glacÃ©e d'Henri Decae. Tout concourt Ã transformer ce polar Ã l'intrigue assez classique en un requiem pour mauvais garÃ§ons aux accents crÃ©pusculaires. Hommage au film noir amÃ©ricain des annÃ©es 50 â€“ on pense plusieurs fois Ã Quand la ville dort de John Huston ou L'Ultime razzia de Kubrick â€“, on voit Ã©galement Ã travers l'avant-dernier film de l'auteur de Bob le Flambeur et de L'ArmÃ©e des ombres tout ce que les cinÃ©mas de Quentin Tarantino, de John Woo et de Takeshi Kitano, ainsi que Mission impossible de De Palma doivent Ã ce fascinant cinÃ©aste, exigeant et populaire Ã la fois. (Sylvain Lefort)

I senza nome
Tre uomini, uniti dal caso, tentano il colpo grosso in una gioielleria. C'Ã¨ un poliziotto tenace che tampina uno dei tre, e il famoso granello di sabbia che fa inceppare il meccanismo. 12Â° film, e penultimo, di J.-P. Melville, uno dei suoi piÃ¹ belli e ambiziosi, dominato dalla filosofia deterministica e dal senso della morte. Secondo il regista, include tutte le 19 situazioni possibili del noir. A modo suo, un film classico nella sua perfezione: inesorabile come un orologio di precisione, ha tempi giusti, personaggi attendibili, atmosfere credibili, una tenuta figurativa che, a forza di iperrealismo, sfocia nel fantastico.

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