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Le Doulos (The Criterion Collection) (1962) Review
Cool, collected and oh so sheik, `Le Doulos' reminds me a lot of Melville's later triumph `Le Samourai'. Both films are just dripping with attitude and suave entitlement and both films delve into the gritty life of a criminal. This time around, the trench coats and jazz music follow a group of thieves as they deal with a supposed informant. With enough twists and turns to keep you guessing till the very end, `Le Doulos' does everything it needs to in order to hook you and keep you hooked.In `Le Doulos', Jean-Pierre Melville introduces us to Silien, a shady character of sorts who may or may not be a police informant ratting out his friend, the recently released Maurice Faugel. As Maurice finds his latest job botched at the hands of the police he begins to wonder just who his real friends are, and when he finds himself behind bars it seems all too obvious who is behind it all; but is it really all that simple?
No.
I raved `Le Samourai' and I will continue to do so. It is one of the greatest film noirs I've ever seen, and it continues to impress me every time I sit through it. `Le Doulos' is right up there for me; a sublime example of a director and a group of actors taking a mood and carrying it through to completion. Everything about this film is perfectly designed to embellish the mood Melville was attempting to convey. This film is dripping with style, yet it doesn't rest easy on that said style; it actually backs it up with substance. The plot is thick and intricate and the acting is superb. Jean-Paul Belmondo is stellar as Silien, possessing the same coolness that Alain Delon strutted around with in `Le Samourai'. He plays to his characters ambiguity very well, so well that his loyalty is always a question mark, which is essential to the films final reveal. Serge Reggiani is also very good here as Maurice, capturing his characters confusion as he begins doubting all he's grown accustomed to. Personally, I was floored with Monique Hennessy's small turn as Therese. She was astonishing and completely engrossing in just a few short scenes.
Those eyes melt me.
Undoubtedly the star of the show is director Jean-Pierre Melville who just dominates each frame with his personal style and technique. I remember very vividly the opening frames of `Le Samourai' and I think I even raved that opening sequence in my personal review (the lonely birdcage). Similarly, Melville uses a simple image (in this case, a man walking through dark alleys) to convey the films intended mood; dark and mysterious. That initial image stays with the viewer throughout the film and even past its conclusion (which is a BRILLIANT piece of work) and remains one of the most important and telling scenes in the film. A great film needs to have that fluidity, and it is established by the director understanding the message he is trying to convey and knowing how to create it in its entirety.
Jean-Pierre Melville is that kind of a director.
So, as you can tell, I truly loved this movie and I highly recommend it. The film noir is a tricky genre, because if not done right it can come off hokey or even campy. This is far from either of those two definitions. `Le Doulos' is sleek, cunning, mysterious and highly entertaining; everything you could ask for from a noir and much, much more.
Le Doulos (The Criterion Collection) (1962) Overview
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