Le Doulos (1963)

Trust no one in this convoluted French New Wave thriller, which (on its surface) seems to concern an ex-con who suspects a former partner of duplicity. Every character in the film is looking to double-cross someone, but in the end only the audience is successfully hoodwinked, fooled into attempting to unravel a confusing tangle of unexplained and seemingly unmotivated events, before the jigsaw scenario is cleverly assembled in retrospect. It takes a certain mental alacrity to keep pace with who is plotting what to whom (and why), but the wide-awake will be rewarded with a satisfying solution, although perhaps the final scenes take advantage of one irony too many. Without its complex narrative structure the film would be a more or less straightforward plagiarism of American B-movie crime drama conventions, proving yet again how a skillful imitation can make even the most familiar material fresh again.

Fmovies: Another tale of dishonor among thieves and another masterpiece from Jean- Pierre Melville but this one's a little more complicated than most. "Le Doulos" is slang for a hat but in criminal circles it also means a police informer. The informer here is Jean-Paul Belmondo and he seems to be playing one side against the other, police and crooks, but to what end? The movie is tortuously plotted until it's all very neatly and beautifully tied up at the end and it pays homage, not just to the great Hollywood gangster movies, but to such classically poetic French films of the thirties such as "Le Jour se Leve" and "Les Quai Des Brumes". Belmondo is, of course, magnificent and SergeReggiani is suitably fatalistic as the gangster who sets everything in motion. An absolutely essential movie.

Jean Pierre Melville was a brilliant and fatalistic filmmaker who hardly found any recognition by anyone in his own home country except from other filmmakers. Only abroad was he given credit as a film director of exceptional talent. For example, his turn as film director for Le Doulos(1961) exposes him as a filmmaker of three dimensional skills. In films like Le Doulos(1961), things such as expressionism become an essential part of Melville's cannon of films.

Jean Paul Belmondo is one of the most famous French tough guys besides Alain Deleon, and Yves Montond. In a way the Silen character played by the actor can be seen as Michel of Breathless(1960) if Michel had lived and became an informer. Belmondo was one of the coolest actors from French cinema for his time. The person of Silen is hard to pin down because one never knows whose side he is on.

Minor classic of French Noir especially in the 1950s-1960s. There are two reasons why I think it to be. First, the story and plot are compelling to follow. Two, many of the essences of film making is brought together to Le Doulos(1955) with some good film execution and competent screenwriting.

Some ingenious plot twists are used to keep the viewer on his or her toes. These plot twists are done in a manner that makes sense and yet retains some form of unpredicability. They are never used for the sake of using them nor are badly wasted as for instance in Wild Things(1998). The plot twists of Le Doulos(1961) are examples of what was one of many big trademarks in the French gangster picture.

Le Doulos(1961) deals with small time gangsters whose beliefs in honor and loyalty are pretty slim. In the gangster world of Melville the qualities of honor and loyalties are nearly extinct and replaced by betrayal and greed. Almost every character in Le Doulos(1961) is someone who can not be trusted and has a duel nature about them. The director never paints a romantic outlook for the criminals of Le Doulos(1961) and that's what makes it effective as a crime thriller.

Narcissism is a major motif for Le Doulos(1961) especially in the behavior of Silen. In many of Melville's main characters from films such as Le Doulos(1961) and Le Samurai(1967) there is a narcissistic feeling that compensates for the emptyness that surrounds their inner body. This is especially true for the Melville characters of Silen and Jeff whose only loyalties are to themselves. That is one element that makes Jean Pierre Melville a fatalistic filmmaker.

The acting in Le Doulos has its shares of ups and downs depending on an individual actor's performance but for the main two the acting is quite good. Jean Paul Belmondo exhibits his strength as an actor in playing the informer, Silen. Serge Reggiani as Maurice Faugel plays his character with a dogged tiredness that is reminicent of Jean Servais's performance in Rififi(1955). Contains a small co starring role for Michel Piccoli who became a major leading actor for many well known film directors including Luis Bunuel, Jean Luc Godard, and Claude Chabrol.

Might be the most underrated picture of Jean Pierre Melville's gangster motion pictures. Does not get the same acclaim as the director's best..I.E., Bob Le Flambeur(1955), Le Samurai(1967), or even Le Cercle Rouge(1970). Le Doulos(1961) has many themes that Jean Pierre Melville return over and over again in his crime films. It is very good at developing tension that bursts open like a cantaloupe.

Le Doulos's

Le Doulos fmovies. How I would've loved to see this movie on the big-screen; as it is, one of the only set-backs in watching it is that the current Kino VHS copy is of poor quality, with the kind of subtitles you can't read when it's with a white background, and the aspect ratio is off at times. But it is a kind of "lost" classic in some ways, harder to find than Jean-Pierre Melville's films on Criterion DVD (Le Cercle Rouge, Bob le Flabeur, and Le Samourai), but still as rich in his own style than with his other films. If at times it might not seem as much Melville as usual, it may be because it's based off a book by Pierre Lesou. But Melville still instills his distinctive flair at making old-fashioned crime stories involving criminals with codes of honor, police with some level of respect and intelligence, and a perfection of dead-pan dialog and silences.

The film also includes a star of the times- Jean-Paul Belmondo plays Silien, a sort of smooth operator of underdog criminals, who is friends with Maurice Faugel (Serge Reggiani, a man with soul in his face if that makes sense). Faugel, at the start of the film, does something that may or may not have been the right thing, but he still has to hide it, in the midst of gearing up for a heist (again, this IS Melville). The heist doesn't go as planned. There's also been another murder, which Silien cannot stand, even as he is placed in the realm of a police investigation. I hesitate to describe much else of the story; on a first viewing one may think there is too much exposition at times (in particular when Silien reveals some of the details later in the film to Faugel, with fades to flashbacks and so forth), and the double-crossings that occur make the story very twisty, in the perfunctory crime-novel sense of course. In some ways it's a little more novelistic in the storytelling than a film like Le Cercle Rouge.

The style of Le Doulos is a sumptuous feast for the eyes and senses. It isn't always fast and it isn't always slow, but when Melville wants a level of suspense he somehow brings it. Like all his other crime films, he's working in a framework akin to the American genre pictures of the late 30's and 40's- tough guys almost always shielding their emotions, kind to most women but not all (there's an interrogation scene by Silien with a woman that is effective, and rather disturbing in just the set-up of the woman), and a kind of fate that is and isn't expected with the characters. One might even try and make naturalistic comparisons with the story; Faugel with his own problems, Silien with his lonely but loyal life to his few friends, the police's professionalism.

But what really catches me with Le Doulos, like the best moments in Melville's films, is how he subverts the kind of expectations of the classic style of the 40's American crime films - dark shadows in the background coming into the foreground, creeping in on the characters, and usually basic camera moments - with the 'new-wave' sensibilities. There are certain shots that are stunning, some of which elude me even after seeing the film three times. The Silien scene I mentioned is one, but also note the hand-held use as the robbers run away from the cops after the heist; the extraordinary long-take in the police investigation (you almost forget that there isn't a cut); the occasionally very unusual angles put onto characters to add a certain 'kick' to the feeling behind it.

Despite the straightforward att

Le Doulos is not as well-known as Melville's later colour pictures, but very much undeservedly so. Gangster films rarely manage to surprise their audience with the plot (unless they sacrifice logic as so often in Raymond Chandler's stories), but here we have an exception. This one is entirely logical and entirely surprising; an extraordinary gangster story of trust, betrayal and code of honour. It is impossible to correctly guess the outcome even when you are through 2/3 of the film.

Highly recommended.

More often than not, French gangster films that owe so much to early American gangster films come off as cakes with more icing than cake. This is not the case with Jean-Pierre Melville, whose Bob le Flambeur is a powerful tale of a compulsive gambler who attempts to right his own life and the lives of those he cares for. In Le Doulos, the story focuses on a gangster, Maurice, just released from prison who immediately gets back on the other side of the law and begins to get involved in the ever-constant struggle between French police and organized crime.

This film obviously owes a great deal to early American gangster films, as so much of Melville does, but what makes it slightly different is the complexity of character and plot Melville injects into the story. There are numerous layers of action going on here; each character is as duplicitous as possible so motivations are always in question and the audience never really can tell who exactly is on which side until the final conclusion. Yet, it is never too confusing and never dull to watch as Melville invites us to explore closer the beautiful fluid camera work and the stunning and stark cinematography.

The acting is also quite effective, especially Serge Reggiani as the world-worn Maurice whose face says more than anything else, and French cinema legend Jean-Paul Belmondo as the too cool for his own good Silien. All in all, a very entertaining and well-made caper thriller that compared to today's shoot 'em ups consists of more than enough cake with the right amount of icing as well.