Not being a Becker fan *at all* I guess I can be objective. This film is enjoyable like if it weren't a classic. Once begun, you'll want to watch it till the end. Simone looks gorgeous here, IMDb reviewer "pzanardo" from Padova, Italy is right when he writes that the director seems to have filmed her specially well. By the way, have you noticed how bad Italians fare on French period films? Thérèse Raquin (1953) from the next year is one of a string of examples...
The Mafia aspect is so naive it's almost lovable in comparison with nowadays'. So is the city, the police, the woman/man relationships, class divisions... Félix Leca's character is stereotype incarnate, but at the same time very "believable", in spite of his constant narcissism and tics.
Trevor Willsmer on Amazon is right at why it works: we expect a romantic period piece but during the knives fight in the beginning we realize crime is never nice, only made to look so. Yet somehow, our aesthetically expectations still are about something "nice", while the plot is dark. The police seems like a pantomime, in most of the film the State seems to be absent, and Félix the only one who does the thinking for everybody. The romance is almost enhanced by the heavy censorship. Nothing whatsoever is "shown" (even a kiss on the grass turns into the sky :)) but you feel enough passion. Signoret specially knows how to vibrate with a swagger attitude. Look at her entering a bar, greeting everybody, self assured and always knowing how to deal with men. Manda on the contrary, is a "too perfect hero" to be of my liking. My favourite scene is when he's doing nothing with a branch and she takes the initiative: "Kiss me" and then we have to watch the sky, if not, we'll burn :).
Randy Buck on Amazon is right the film has a sort of documentary feel totally lacking in "Gangs of New York", that Willsmer writes was heavily influenced by this gem.
Then only moment Félix Leca looses the grip of authority is when he is responsible of Raymond's death. Even thugs have rules... On the contrary, when they dispose of the blonde barman who talked too much, only the dumbest of them feels sorry for it.
It's true it's not exactly believable that a mobster would be so cautious and "Machiavellian" when he could just grab and use the lady, but, sincerely, I don't care for feasibility in this sort of films.
It's only with a twinge of nostalgia that I corroborate the swarm of reviewers & fans this film has. I'm absolutely glad about it, as of having watched this film.
The Mafia aspect is so naive it's almost lovable in comparison with nowadays'. So is the city, the police, the woman/man relationships, class divisions... Félix Leca's character is stereotype incarnate, but at the same time very "believable", in spite of his constant narcissism and tics.
Trevor Willsmer on Amazon is right at why it works: we expect a romantic period piece but during the knives fight in the beginning we realize crime is never nice, only made to look so. Yet somehow, our aesthetically expectations still are about something "nice", while the plot is dark. The police seems like a pantomime, in most of the film the State seems to be absent, and Félix the only one who does the thinking for everybody. The romance is almost enhanced by the heavy censorship. Nothing whatsoever is "shown" (even a kiss on the grass turns into the sky :)) but you feel enough passion. Signoret specially knows how to vibrate with a swagger attitude. Look at her entering a bar, greeting everybody, self assured and always knowing how to deal with men. Manda on the contrary, is a "too perfect hero" to be of my liking. My favourite scene is when he's doing nothing with a branch and she takes the initiative: "Kiss me" and then we have to watch the sky, if not, we'll burn :).
Randy Buck on Amazon is right the film has a sort of documentary feel totally lacking in "Gangs of New York", that Willsmer writes was heavily influenced by this gem.
Then only moment Félix Leca looses the grip of authority is when he is responsible of Raymond's death. Even thugs have rules... On the contrary, when they dispose of the blonde barman who talked too much, only the dumbest of them feels sorry for it.
It's true it's not exactly believable that a mobster would be so cautious and "Machiavellian" when he could just grab and use the lady, but, sincerely, I don't care for feasibility in this sort of films.
It's only with a twinge of nostalgia that I corroborate the swarm of reviewers & fans this film has. I'm absolutely glad about it, as of having watched this film.