Jean Yanne plays Louis Carrier, a repairman who comes into a substantial amount of money after his brother perishes in an accident abroad. But he decides to use his newly acquired fortune to launch a campaign of terror, while assisted by his simple-minded associate Albert (Renato Salvatori), whom Louis affectionately dubs "Einstein". Louis proceeds to threaten various public figures, and a prominent Interpol criminal psychologist, Michel Ambrose (Alain Delon, also the films' producer) is called in to help with the case.
Adapted by director Alain Jessua from a novel by David Lippincott, the French thriller "Armageddon" is no great shakes, as it never really generates much dramatic tension, and may be just a bit too subtle for its own good. What it does succeed at is creating some interesting, nuanced characters. The antagonist, in particular, is ultimately a rather pathetic figure who desires to stop toiling in anonymity and enjoy hearing people talk about him. In that sense, the film is good for exploring the idea of real-life people who manipulate the media to achieve infamy. And protagonist Ambrose is a compassionate sort who resolves not to judge his nemesis too quickly.
While Jessua admits that it was a mistake to not give the two opponents more of an extended confrontation (the ending is over a little too quickly), he created a fairly absorbing, enjoyable picture that does go fairly far on the talents of the cast (also including Marie Dea as Louis' loving aunt, Michel Creton as a blackmailer, Robert Dalban as a taxi driver, and Michel Duchaussoy as Ambroses' police inspector friend).
Although some thriller lovers may find it to be not completely satisfactory, others may appreciate it for taking a more psychological approach than a visceral one. In any event, the final moments of the film are really quite sad. All in all, it's a good film if not a great one.
Seven out of 10.
Adapted by director Alain Jessua from a novel by David Lippincott, the French thriller "Armageddon" is no great shakes, as it never really generates much dramatic tension, and may be just a bit too subtle for its own good. What it does succeed at is creating some interesting, nuanced characters. The antagonist, in particular, is ultimately a rather pathetic figure who desires to stop toiling in anonymity and enjoy hearing people talk about him. In that sense, the film is good for exploring the idea of real-life people who manipulate the media to achieve infamy. And protagonist Ambrose is a compassionate sort who resolves not to judge his nemesis too quickly.
While Jessua admits that it was a mistake to not give the two opponents more of an extended confrontation (the ending is over a little too quickly), he created a fairly absorbing, enjoyable picture that does go fairly far on the talents of the cast (also including Marie Dea as Louis' loving aunt, Michel Creton as a blackmailer, Robert Dalban as a taxi driver, and Michel Duchaussoy as Ambroses' police inspector friend).
Although some thriller lovers may find it to be not completely satisfactory, others may appreciate it for taking a more psychological approach than a visceral one. In any event, the final moments of the film are really quite sad. All in all, it's a good film if not a great one.
Seven out of 10.