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| Like his famous American namesake, Jean-Pierre Melville's stories are more than meets the eye. An admirer of writer Herman Melville and many things American, his films are deceptively simple. With little dialog and a sound track that consists primarily of natural effects, le Cercle Rouge is among his very best. This spellbinding French noir works famously as a straightforward jewel heist by a noble, if brutal, trio of pros. On another level, it is also a masterful portrait of primitive human connections, notably male, based on the dynamics of the moment. Without regard to the future but mindful of past betrayals; guilt, loyalty and chance and atonement are its' key elements. Women are strictly decorative or exist as conduits of past treachery; the red circle is a man's world. First and foremost, it's a great gangster film. As newly released ex-con Corey, Alain Delon, whose mustached upper lip puts a rougher edge on his beauty, is arguably one of the most watchable faces of the 20th century. On the day Corey is exiting prison (wearing an improbably cool trench coat) after a five-year stint, another convict, Vogel (Gian Maria Volonté) makes a bold escape from a moving train and from police Captain Mattei (André Bourvil). Before he was released, Corey received a tip about a perfect high stakes job needing a delicately balanced team to pull off. The chance meeting of Vogel and Corey, intersecting in Melville's fictional Buddhist "red circle" (alluded to in the mystical, abstract introductory scene), sets in motion a plan to carry out the theft if they can hook up with the right third man needed for the job. A crony recommends Jansen (Yves Montand), a sharpshooter ex-cop perfect for the task if he can put his alcoholic DTs at bay. The essence of what movie magic is all about is creating a mood that carries us off to another place. No one is better at creating that mood than Melville, with these players, so natural at their craft, and flawless cinematography by Henri Decaë, this elemental piece is riveting. The writer of Bob le Flambeur, recently remade as The Good Thief, Melville asserts that the guilt of all men, as the police chief reminds Mattei, is unquestionable. These guys have all been around the block and are very, very cool. They've internalized a code of living that instinctively accepts its truths: that life is short, that you don't betray someone you like, that someone you like may betray you. As Mattei puts the puzzle together and turns up the heat, the thieves retain their impenetrable cool. A careful recklessness guides their actions and their loyalties. Their terrain is the present, plans for the future do not occupy their minds. A simple, unyielding system of honor among thieves underlies their choices. Rialto Pictures continues its mission of restoring and re-releaseing superb films in new prints, with Melville apostle John Woo listed here as presenter. Following the recent success of such first rate and little seen films as Pepe le Moko, Quai des Orfeveres, and Rififi, le Cercle Rouge joins the collection. Melville's second to last picture before his death in 1973 at age 55, this film ended his career with a bang. With his gritty post world war II films, he was considered by many to be on the vanguard of the French New Wave, spawning a new generation of filmmakers including François Truffaut and Claude Chabrol. The long wordless heist scene was ahead of its time and still captivating. The smooth, brisk editing finishes 140 minutes of great enjoyment. |
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| JOHN WOO ON "LE CERCLE ROUGE" Le Cercle Rouge is visually arresting and powerful in its silence. There is not much dialogue and the silence creates a more dramatic cinematic language as it draws more attention to the story and the great moments of the actors’ performance. By creating a cool, calm atmosphere with immaculate camerawork and precise editing rhythms, his style and message move with his actors as they deliver their soulful performances. Melville’s themes embody the spirit of honor, loyalty, and tragic destiny among characters played by fate. These classic themes are also found in ancient Chinese and Japanese philosophies and cultures[1]. I believe in this kind of romanticism. These valuable lessons of spiritual morality draw me into his movies and make me feel like we are in the same world. The romantic values of friendship and brotherhood expressed in this movie are almost impossible to find today. They are another reason why Le Cercle Rouge became a classic gangster film. There is no mistaking that Le Cercle Rouge is a Jean-Pierre Melville movie, as all of the elements synchronize to his vision. Melville was the coolest, most stylish auteur of his time. I've long admired him for his spirit and his movies. He's had a great influence on my work. -- John Woo, December 2002 |