Although Henri Verneuil's crime films lack the existential edge of his acknowledged master Jean-Pierre Melville, his technical expertise as a film maker is indisputable, never more so than in the set pieces from this film which feature two escapes and a mid-air hijack. Melville's regular cinematographer Henri Decae again works his visual magic and it has been adapted from the novel by Auguste le Breton who had penned the Big Daddy of all heist movies 'Rififi' and supplied the screenplay for Melville's early masterpiece 'Bob le Flambeur.' The adaptor here is convicted double murderer and Vichy collaborationist Joseph Damiani who, after paying his debt to society, changed his name to José Giovanni and contributed his criminal mentality and detailed knowledge of the Underworld to countless cops and robbers movies.
This is generally considered to be the first of the modern day mafia movies and marks Verneuil's frontal assault on the all-important North American market armed with the big guns of Jean Gabin, Alain Delon and Lino Ventura. The film is therefore more about personalities than characters and although all three do what they do very well, it is Ventura as gruff commissaire le Goff who steals the show whilst Monsieur Gabin alas fails to convince as a Mafia Don and Delon's role is merely an extension of those he had played so memorably for Melville. This charismatic actor made no secret of his Underworld connections which if anything increased his appeal whilst the scandal involving the mysterious death of his chauffeur did not exactly harm the film's box-office.
Those that pay the piper play the tune and it was at Darryl F. Zanuck's insistence that the police element was beefed up, not to mention the role played by his squeeze at the time Irina Demick who is required to be nothing more than an edible dish. Mention must be made of popular Italian star Amadeo Nazzari who has scant screen time but who registers strongly as one of Gabin's partners in crime.
Devotees of Ennio Morricone will be in seventh heaven here as his score comes from his busiest and most creative period, featuring not only whistling but also a bizarre 'boing boing' effect on a Jewish harp. It has been said that gangster films are essentially Westerns without the horses and in this regard Signor Morricone's score is spot on.
This was my introduction to Jean Gabin and I was sufficiently impressed by his persona to work backwards through his astonishing career and what a rewarding journey it has turned out to be. Former wrestler Lino Ventura had made his film debut as a hood opposite Gabin in 'Touchez-pas au Grisbi.' They became lifelong friends and Ventura was destined to assume Gabin's mantle. The dynamic here between Gabin and Delon is not nearly as effective here as it had been in their first film together for Verneuil, 'Mélodie en sous-sol' which despite a smaller budget and being shot in black-and-white is infinitely more appealing than this later offering.
'The Sicilian Clan' has a great deal to recommend it but for this viewer at any rate, does not quite live up to its classic status.
This is generally considered to be the first of the modern day mafia movies and marks Verneuil's frontal assault on the all-important North American market armed with the big guns of Jean Gabin, Alain Delon and Lino Ventura. The film is therefore more about personalities than characters and although all three do what they do very well, it is Ventura as gruff commissaire le Goff who steals the show whilst Monsieur Gabin alas fails to convince as a Mafia Don and Delon's role is merely an extension of those he had played so memorably for Melville. This charismatic actor made no secret of his Underworld connections which if anything increased his appeal whilst the scandal involving the mysterious death of his chauffeur did not exactly harm the film's box-office.
Those that pay the piper play the tune and it was at Darryl F. Zanuck's insistence that the police element was beefed up, not to mention the role played by his squeeze at the time Irina Demick who is required to be nothing more than an edible dish. Mention must be made of popular Italian star Amadeo Nazzari who has scant screen time but who registers strongly as one of Gabin's partners in crime.
Devotees of Ennio Morricone will be in seventh heaven here as his score comes from his busiest and most creative period, featuring not only whistling but also a bizarre 'boing boing' effect on a Jewish harp. It has been said that gangster films are essentially Westerns without the horses and in this regard Signor Morricone's score is spot on.
This was my introduction to Jean Gabin and I was sufficiently impressed by his persona to work backwards through his astonishing career and what a rewarding journey it has turned out to be. Former wrestler Lino Ventura had made his film debut as a hood opposite Gabin in 'Touchez-pas au Grisbi.' They became lifelong friends and Ventura was destined to assume Gabin's mantle. The dynamic here between Gabin and Delon is not nearly as effective here as it had been in their first film together for Verneuil, 'Mélodie en sous-sol' which despite a smaller budget and being shot in black-and-white is infinitely more appealing than this later offering.
'The Sicilian Clan' has a great deal to recommend it but for this viewer at any rate, does not quite live up to its classic status.