Jean-Pierre Melville
Y'all - seriously. Hitchcock ain't got nothing on JPM. Unfortunately for those of you just gaining interest in this fantastic French director - you'll have a hard time finding his stuff as most of it just went out of print in North America (last week).
I'd never heard of Melville. I'd never even heard of the titles for any of his films so when I joined the Melville party - I came as a virgin. And boy - am I glad I did! Each of Melville's films is a wholly new experience. I don't know how anyone could top the master of suspense, Alfred Hitchcock, but Melville pretty much nails it. If you don't believe me - check out the first ten minutes of ANY of his films, then let's see what you've got to say.
I'm so thankful for the Criterion Collection allowing these films to make an appearance in North America. Had it not been for their fully-loaded DVD's - I'd have missed most of the works by this incredible French master. Born Jean-Pierre Grumbach - Melville donned the last name of his favorite author (Moby Dick, y'all) and joined the military. He participated (loosely) in WWI and as soon as the war was over, he applied for work as an assistant director and was declined. With his dreams in his palms, Melville didn't take rejection well - and set out to make his own films - seperate from the studio system that rejected him. He was spunky, okay?
Melville did not churn out thousands of films like Fassbinder, Bergman and Fellini - but of the handful he created, each one is a rival for the top slot. Melville (and a very few others) are one of the directors that you can watch "blind." Don't read the back. Don't check Wiki. Just stick the DVD in and press play - you're about to fall in love. Each film is a masterpiece in its own right, which makes selecting my favorite pretty much impossible. You'll need Xanax or a good weed connection if you plan on watching more than one movie at a time. Some of Melville's films are so suspenseful they give me heart palpitations. Let's just jump in and get this over with.
**Honorable Mention**
"LES ENFANTS TERRIBLES" (1950): ("The Terrible Children") Eh...you're supposed to love this one, and since I didn't utterly despise it (and I'm told it's insantly important), I placed this one as Honorable Mention. What makes this film watchable is twofold - firstly, you're given Melville at the beginning of his career, not yet sure of his signature "style" - he willingly adapts a classic French novel for the screen just a year after his first feature Le Silence De La Mer. The second reason you're supposed to admire this film - the author. Jean Cocteau is one of the biggest names in French history. What didn't he do? Who didn't he sleep with? Why did everyone find him so sexy? I've pondered Cocteau for many years - seen all his films, read all his books - read all the books that inspired him...I still don't quite get it. The story is a little on the shady side - a brother and sister spend 99% of their time locked in their apartment where they slowly become more and more crazed and isolated from reality until the dramatic conclusion. This is a good film. I'm just persnickety when it comes to Melville. In his defense - this is one of the few times you'll ever see his directorial hand involved in something that doesn't require guns, gangsters or chain-smoking thugs. A standard dramatic story from surrealist Cocteau is how Melville greeted the world. This film was a huge success and pretty much everyone alive loves it. Maybe one day, I will too.
5) "BOB LE FLAMBEUR" (1956): ("Bob, The Gambler") This film is considered two things: one - it is one of the inspirations for the French New Wave (due to it's jump cuts and use of handheld camerawork - never before used solely to shoot an entire film), and secondly because it is one of the best examples of film noir ever put to film. The story is one that Melville really liked. A retired crook gets out of jail, tries to stabilize himself into his new life - then all his nasty, old friends resurface and try to lure him back into a life of crime. While Melville would nail this scenario a few years later, Bob Le Flambeur is a fantastic, thrilling, gut-wrenching, rollercoaster ride through the misty shadows of Paris. I really love this film. The acting is very gentle, almost as if you're watching non-professionals whisper out their lines. The storyline works seamlessly and also allows Melville his first opportunity to get his feet wet when it comes to increasing tension. I feel that had it not been for the raving success that this film garnered - Melville would have made less suspense films. Thank God for Bob Le Flambeur, this is the movie that starts it all. As the story moves along, you (as a viewer) definitely get the sense that you're in the hands of a master. Melville removes your ability to tell time, answer phones or care why your baby is crying...all you care about for 90 minutes is: will Bob get away with it? The answer will rock your world...
4) "LE SAMOURAI" (1967): ("The Samurai") Hailed by many as Melville's ultimate masterpiece - this film is still growing on me. I will agree - it's one of the best damn movies you'll ever see, I'm just hard-pressed to describe exactly why. I suppose we should begin with the devilishly handsome Alain Delon who plays the lead role. Nearly mute - and I think he only has about 10 lines, he keeps the viewer riveted as he creeps around Paris and rural France in preparation for his next crime. There is so much to love about his movie - it's really challenging to try and explain it in a paragraph. Suffice to say, the opening shot is one of the sexiest things I've ever seen (and not for the reason you'd suspect), it's one of the most potent of all Melville's gangster films, the color cinematography is so beautiful it's just plain stupid and it's a nail-biter on the level with Psycho or North by Northwest. What makes this film so seductive to me is the pacing. It's as riveting, gripping, explosive, intriguing and wild as anything Tarantino could create - yet the action on the screen moves at this methodical, agonizingly slow pace ... somehow ... (and I can't explain it), the slower this film moves - the harder it becomes to turn away. It's magnetic. It's hypnotic. It's mandatory viewing for anyone with a pair of lungs ... because, wow ... French people smoke a LOT.
3) "LE DEUXIEME SOUFFLE" (1966): ("A Second Wind") Remember when I said to check out the first ten minutes of ANY Melville film? This is the one to check out if you want to have your mind blown. This film opens without any dialogue (a trademark) and instantly you watch as a man and his prisoner are led onto a train for a trip...somewhere. They slowly check in. They check out their cabin. They admire the view. The guard handcuffs his prisoner into the top bunk, turns out the light and - glass explodes. The next thing you know - the two characters, the camera and you are all running through the forest in a hectic tracking shot the likes of which you won't see very often. How do they not hit a tree? Someone please tell me how long it took Melville and the crew to block these shots? It's ridiculous. But that's just the first ten minutes. The character of Gu (the escaped prisoner) is one of the best ever created by Melville and team. He rejoins his girlfriend only to realize she's being blackmailed by the same people who had him arrested, Gu sets out to tackle one last heist in order to get them all out of danger - and ... the heist, is some of the most gripping film you'll ever glue your eyes to. Completely silent and almost thirty minutes long - I've never...in my life...screamed at a movie to "oh my God, just run" but...I did it here. If you want to see a primo example of the Melville touch (suspense, atmosphere, jump-cuts and stroke-level tension) then this is probably the one to see first. You don't hear much about this one as Army of Shadows and Le Samourai pretty much eclipse the world. Then there's Le Cercle Rouge to consider ... but should you happen to be able to avoid the accolades surrounding those three films - you should explore this one because in my professional (and very handsome) opinion - this is one of the best Melville films ever made, possibly even one of the best French films - period. I've babbled enough here. Moving on...
2) "L'ARMEE DES OMBRES" (1969): ("The Army of Darkness") I liked this film before I could even see it. Repressed in the United States for FORTY YEARS - The Army of Darkness made its debut at MOMA in 2009. A restored, resurfaced print was discovered in France and after years of work, the world was ready to finally see the film that Melville considered his greatest achievement. Due to the events of 1968, the Cashiers du Cinema decided that since this film glorified Charles de Gaulle, they would sit on it - and they did. The story of a band of renegade vigilantes fighting the Nazis during the occupation of France in WWII, this is one seriously bad-ass film. When you watch this (and you will), notice how timeless it feels. It's hard to believe a movie of this magnitude could be shelved and hidden for almost half a century - but what a gift to unwrap?! I went to the MOMA exhibition and after the three hours, I walked out of that gallery with a new appreciation for a director I knew very little about. This film established my love for Melville in a big way. Simone Signoret appears in (mmm, lord) a fantastic role and keeps the crew motivated as all hell breaks loose around them. The torture scenes are shocking (even moreso considering the age of this film). The action, heist, and finale are so tense you won't breathe very much until the credits roll. This is one of the longer films in the Melville canon - but don't pay any attention to that. It honestly won't matter. After the third hour of this - be prepared to feel shorted. This is one of the best films to ever come out of France and I don't care who says differently. I'll fight you with my teeth.
1) "LE CERCLE ROUGE" 1970): ("The Red Circle") Want to rob a jewelry store? Sure? Hot damn! Three strangers join forces to deliver the greatest film ever directed by Jean-Pierre Melville. There is no better film. Trust me on this - Alain Delon, Yves Montand, Bourvil ... seriously folks. There is so much going on in this movie, you'll want to watch it over and over. This single film is better than all twenty James Bond films put together. Oh...yeah, I just said that. If you don't believe me, then you haven't spent thirty six minutes of your life robbing a jewelry store in darkness and complete silence. The best way to see this is in a theater. Unfortunately - unless you live in NYC or LA, you probably won't get that opportunity. This is required viewing for anyone who enjoys thrillers. It's slightly dated in the fact that you're in late-60's Paris, but somehow you stop noticing these things as the plot thickens. Melville and his gift for cinching a tense situation into something damn near fatal is unmatched. Nowhere does the master deliver his subtle, quiet, aching than in Le Cercle Rouge. Also - I think it's one of the best movies with Alain Delon, even better than Le Samourai and that's saying a lot. If this movie were a human - I would slither up behind it at the bar, whisper filthy things into its ear and try my best to seduce it into some seedy behavior. Either that or I'd just drop to my knee and propose. I'd marry the hell out of this movie.
A side note - while writing this, I was constantly reminded of Melville's leading competitor in the world of suspense, Jules Dassin. To anyone familiar with Dassin, before you mail me a snarky letter about why I'm overlooking him - rest assured, he's coming. I do not feel that Dassin delivered nearly the same thunderpunch of suspense and tension, however; Dassin did establish a far greater reaching body of work, ruled the film noir world for a decade and led an incredibly eventful life. I did not forget him. I am saving him for another time. Be patient and in the style of a Melville film - HUSH UP!
I'd never heard of Melville. I'd never even heard of the titles for any of his films so when I joined the Melville party - I came as a virgin. And boy - am I glad I did! Each of Melville's films is a wholly new experience. I don't know how anyone could top the master of suspense, Alfred Hitchcock, but Melville pretty much nails it. If you don't believe me - check out the first ten minutes of ANY of his films, then let's see what you've got to say.
I'm so thankful for the Criterion Collection allowing these films to make an appearance in North America. Had it not been for their fully-loaded DVD's - I'd have missed most of the works by this incredible French master. Born Jean-Pierre Grumbach - Melville donned the last name of his favorite author (Moby Dick, y'all) and joined the military. He participated (loosely) in WWI and as soon as the war was over, he applied for work as an assistant director and was declined. With his dreams in his palms, Melville didn't take rejection well - and set out to make his own films - seperate from the studio system that rejected him. He was spunky, okay?
Melville did not churn out thousands of films like Fassbinder, Bergman and Fellini - but of the handful he created, each one is a rival for the top slot. Melville (and a very few others) are one of the directors that you can watch "blind." Don't read the back. Don't check Wiki. Just stick the DVD in and press play - you're about to fall in love. Each film is a masterpiece in its own right, which makes selecting my favorite pretty much impossible. You'll need Xanax or a good weed connection if you plan on watching more than one movie at a time. Some of Melville's films are so suspenseful they give me heart palpitations. Let's just jump in and get this over with.
**Honorable Mention**
"LES ENFANTS TERRIBLES" (1950): ("The Terrible Children") Eh...you're supposed to love this one, and since I didn't utterly despise it (and I'm told it's insantly important), I placed this one as Honorable Mention. What makes this film watchable is twofold - firstly, you're given Melville at the beginning of his career, not yet sure of his signature "style" - he willingly adapts a classic French novel for the screen just a year after his first feature Le Silence De La Mer. The second reason you're supposed to admire this film - the author. Jean Cocteau is one of the biggest names in French history. What didn't he do? Who didn't he sleep with? Why did everyone find him so sexy? I've pondered Cocteau for many years - seen all his films, read all his books - read all the books that inspired him...I still don't quite get it. The story is a little on the shady side - a brother and sister spend 99% of their time locked in their apartment where they slowly become more and more crazed and isolated from reality until the dramatic conclusion. This is a good film. I'm just persnickety when it comes to Melville. In his defense - this is one of the few times you'll ever see his directorial hand involved in something that doesn't require guns, gangsters or chain-smoking thugs. A standard dramatic story from surrealist Cocteau is how Melville greeted the world. This film was a huge success and pretty much everyone alive loves it. Maybe one day, I will too.
5) "BOB LE FLAMBEUR" (1956): ("Bob, The Gambler") This film is considered two things: one - it is one of the inspirations for the French New Wave (due to it's jump cuts and use of handheld camerawork - never before used solely to shoot an entire film), and secondly because it is one of the best examples of film noir ever put to film. The story is one that Melville really liked. A retired crook gets out of jail, tries to stabilize himself into his new life - then all his nasty, old friends resurface and try to lure him back into a life of crime. While Melville would nail this scenario a few years later, Bob Le Flambeur is a fantastic, thrilling, gut-wrenching, rollercoaster ride through the misty shadows of Paris. I really love this film. The acting is very gentle, almost as if you're watching non-professionals whisper out their lines. The storyline works seamlessly and also allows Melville his first opportunity to get his feet wet when it comes to increasing tension. I feel that had it not been for the raving success that this film garnered - Melville would have made less suspense films. Thank God for Bob Le Flambeur, this is the movie that starts it all. As the story moves along, you (as a viewer) definitely get the sense that you're in the hands of a master. Melville removes your ability to tell time, answer phones or care why your baby is crying...all you care about for 90 minutes is: will Bob get away with it? The answer will rock your world...
4) "LE SAMOURAI" (1967): ("The Samurai") Hailed by many as Melville's ultimate masterpiece - this film is still growing on me. I will agree - it's one of the best damn movies you'll ever see, I'm just hard-pressed to describe exactly why. I suppose we should begin with the devilishly handsome Alain Delon who plays the lead role. Nearly mute - and I think he only has about 10 lines, he keeps the viewer riveted as he creeps around Paris and rural France in preparation for his next crime. There is so much to love about his movie - it's really challenging to try and explain it in a paragraph. Suffice to say, the opening shot is one of the sexiest things I've ever seen (and not for the reason you'd suspect), it's one of the most potent of all Melville's gangster films, the color cinematography is so beautiful it's just plain stupid and it's a nail-biter on the level with Psycho or North by Northwest. What makes this film so seductive to me is the pacing. It's as riveting, gripping, explosive, intriguing and wild as anything Tarantino could create - yet the action on the screen moves at this methodical, agonizingly slow pace ... somehow ... (and I can't explain it), the slower this film moves - the harder it becomes to turn away. It's magnetic. It's hypnotic. It's mandatory viewing for anyone with a pair of lungs ... because, wow ... French people smoke a LOT.
3) "LE DEUXIEME SOUFFLE" (1966): ("A Second Wind") Remember when I said to check out the first ten minutes of ANY Melville film? This is the one to check out if you want to have your mind blown. This film opens without any dialogue (a trademark) and instantly you watch as a man and his prisoner are led onto a train for a trip...somewhere. They slowly check in. They check out their cabin. They admire the view. The guard handcuffs his prisoner into the top bunk, turns out the light and - glass explodes. The next thing you know - the two characters, the camera and you are all running through the forest in a hectic tracking shot the likes of which you won't see very often. How do they not hit a tree? Someone please tell me how long it took Melville and the crew to block these shots? It's ridiculous. But that's just the first ten minutes. The character of Gu (the escaped prisoner) is one of the best ever created by Melville and team. He rejoins his girlfriend only to realize she's being blackmailed by the same people who had him arrested, Gu sets out to tackle one last heist in order to get them all out of danger - and ... the heist, is some of the most gripping film you'll ever glue your eyes to. Completely silent and almost thirty minutes long - I've never...in my life...screamed at a movie to "oh my God, just run" but...I did it here. If you want to see a primo example of the Melville touch (suspense, atmosphere, jump-cuts and stroke-level tension) then this is probably the one to see first. You don't hear much about this one as Army of Shadows and Le Samourai pretty much eclipse the world. Then there's Le Cercle Rouge to consider ... but should you happen to be able to avoid the accolades surrounding those three films - you should explore this one because in my professional (and very handsome) opinion - this is one of the best Melville films ever made, possibly even one of the best French films - period. I've babbled enough here. Moving on...
2) "L'ARMEE DES OMBRES" (1969): ("The Army of Darkness") I liked this film before I could even see it. Repressed in the United States for FORTY YEARS - The Army of Darkness made its debut at MOMA in 2009. A restored, resurfaced print was discovered in France and after years of work, the world was ready to finally see the film that Melville considered his greatest achievement. Due to the events of 1968, the Cashiers du Cinema decided that since this film glorified Charles de Gaulle, they would sit on it - and they did. The story of a band of renegade vigilantes fighting the Nazis during the occupation of France in WWII, this is one seriously bad-ass film. When you watch this (and you will), notice how timeless it feels. It's hard to believe a movie of this magnitude could be shelved and hidden for almost half a century - but what a gift to unwrap?! I went to the MOMA exhibition and after the three hours, I walked out of that gallery with a new appreciation for a director I knew very little about. This film established my love for Melville in a big way. Simone Signoret appears in (mmm, lord) a fantastic role and keeps the crew motivated as all hell breaks loose around them. The torture scenes are shocking (even moreso considering the age of this film). The action, heist, and finale are so tense you won't breathe very much until the credits roll. This is one of the longer films in the Melville canon - but don't pay any attention to that. It honestly won't matter. After the third hour of this - be prepared to feel shorted. This is one of the best films to ever come out of France and I don't care who says differently. I'll fight you with my teeth.
1) "LE CERCLE ROUGE" 1970): ("The Red Circle") Want to rob a jewelry store? Sure? Hot damn! Three strangers join forces to deliver the greatest film ever directed by Jean-Pierre Melville. There is no better film. Trust me on this - Alain Delon, Yves Montand, Bourvil ... seriously folks. There is so much going on in this movie, you'll want to watch it over and over. This single film is better than all twenty James Bond films put together. Oh...yeah, I just said that. If you don't believe me, then you haven't spent thirty six minutes of your life robbing a jewelry store in darkness and complete silence. The best way to see this is in a theater. Unfortunately - unless you live in NYC or LA, you probably won't get that opportunity. This is required viewing for anyone who enjoys thrillers. It's slightly dated in the fact that you're in late-60's Paris, but somehow you stop noticing these things as the plot thickens. Melville and his gift for cinching a tense situation into something damn near fatal is unmatched. Nowhere does the master deliver his subtle, quiet, aching than in Le Cercle Rouge. Also - I think it's one of the best movies with Alain Delon, even better than Le Samourai and that's saying a lot. If this movie were a human - I would slither up behind it at the bar, whisper filthy things into its ear and try my best to seduce it into some seedy behavior. Either that or I'd just drop to my knee and propose. I'd marry the hell out of this movie.A side note - while writing this, I was constantly reminded of Melville's leading competitor in the world of suspense, Jules Dassin. To anyone familiar with Dassin, before you mail me a snarky letter about why I'm overlooking him - rest assured, he's coming. I do not feel that Dassin delivered nearly the same thunderpunch of suspense and tension, however; Dassin did establish a far greater reaching body of work, ruled the film noir world for a decade and led an incredibly eventful life. I did not forget him. I am saving him for another time. Be patient and in the style of a Melville film - HUSH UP!
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