We meet the latter first in the extended bank robbery sequence that opens the film.
Un Flic centres on a duo: the titular cop-“flic” in French-Edouard Coleman (Alain Delon) and the crafty thief Simon (Richard Crenna). And while he may have achieved this more successfully with Le Samourai, Melville’s final film acts as a more fitting grace note to his entire career. It is a film with a potent emotional punch delivered subtly by a craftsman of unique ability. It is Melville’s style distilled to its essence. That’s because in effect Un Flic is an abstraction. Fortunately, that place in history suits the film quite well. So yes, while it’s fair to say Melville himself is definitely not underrated, Un Flic has been a tad left out. These are extremely imperfect metrics, but it’s hard not to chuckle at Un Flic’s Rotten Tomatoes rating of 78 percent, the lowest among the films Melville directed it also happens to be one of just four Melville films that hasn’t earned a spot in the Criterion Collection. And it doesn’t get lumped in with the other noir classics he wrote and directed-despite a starring role for actor Alain Delon, despite being built around the same cops-and-robbers framework, despite its terrifically lean premise and despite being quite good. Un Flic, the last film Melville ever made, is not often in the discussion as one of his masterworks.
So then, what’s there to underrate about Jean-Pierre Melville? Between 19 he directed 13 feature films, and while his work didn’t earn him many awards, his legacy as a first-class filmmaker is secure. The French writer-director is well known for his classic noir films such as Bob le Flambeur and Le Samourai, as well as Léon Morin, Priest and Army of Shadows, his film on the WWII French Resistance, wartime action in which he played a real-life part.
#Un flic movie full
The plot accumulates violence and killings.The story is full of implausibilities:One of Delon's colleagues is actually one of those villains unbeknownst to his superior,he takes a break and shoots a guy -Serge Regianni,what a shame to reduce this legendary actor to that- on a merry-go-round.But the dead "strikes back" and goes on killing people on the carousel no,it's not the return of "stranger on a train"!The ridiculous happy end comes at the most awkward moment or to give Delon a chance to shine ,so to speak.To say a Jean-Pierre Melville film is underrated is to perhaps overstate the case. Here they seem to be baddies,period it is as mindless as a Van Damme movie. The problem lies in the fact that the far-right cops'"ideas" of Pinheiro's film are not well-defined.Their ideology is vague -the commies seem to be their main target (Feodor Atkine's character)-but we do know that their scapegoats are numerous from the Arabs to the Jews to the homosexuals. Frederic Fajardie's screenplay (I have not read his novel)is abysmal.And however the subject was vital,considering the rise of the far right which again will be a terrifying threat in France's 2007 elections ,as it was in 2002. to watch this movie!And never wake anyone! Artistically,it represents one of the lowest points Alain Delon was to reach.
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