Pretty Good

By the time the dramatic fireworks start popping off, each one feels earned.

By the time the dramatic fireworks start popping off, each one feels earned.

The film never slows down or bores, plunging from one harrowing sequence to the next.

"Dirty Money" is a film of several titles, "A Cop" and "Un flic," but it all adds up to the last film of Jean-Pierre Melville, written and directed by him, a noir starring Alain Delon and Richard Crenna - and Crenna speaks French, no less, though I understand he spoke French with accent and was dubbed later.The film begins with a bank robbery that takes place in a seaside town. One of the robbers is badly wounded and eventually is taken to a clinic. The leader of the gang is Simon (Crenna), who owns a nightclub. And this robbery is nothing -- he's got something bigger, much bigger planned.Police Commissioner Edouard Coleman (Delon), a habitué of Simon's nightclub, is on the case. Handsome and smooth-looking, he's not above slapping his transvestite informant or anyone else, for that matter. He and Simon are in love with the same woman, Cathy (the stunning Catherine Deneuve, somewhat wasted in a supporting role) and come into contact at the club. Simon is playing a dangerous game.What makes this film so fabulous are the non-speaking/non-music sequences, sometimes 20 minutes in length. Absolutely fascinating - my favorite was Simon lowered onto a moving train via helicopter, changing his clothes, hiding them, committing robbery, changing his clothes again, and being lifted back onto the helicopter. FANTASTIC.Don't miss this - fascinating, absorbing, and exciting.

Un Flic is a French gangster caper film with many intriguing qualities. Visually, it is really interesting. The color choices demand repeated viewing. I like how there are seldom light colors seen (except for Deneuve's platinum hair and the smuggled cocaine). The muted color scheme generates a lot of gritty atmosphere to help draw you into Melville's nightmarish vision.The plot is difficult to follow. I'm not really sure about several key points. For example, police officer (chief?) Coleman (Alain Delon) learns the name of the gangster the others had killed in a hospital. From that piece of information, they quickly trap the driver/helicopter pilot at a restaurant? Also, with the physically imposing driver/pilot in police custody, how does Coleman manage to break his spirit sufficiently to nab the rest of the gang? Torture would be needed, but no information is supplied to confirm it was used.Much has been said about the obviously fake model train and helicopter that Melville shows for the second heist scene. I'm fine with it. (Gosh only knows how much it would cost to lease a train, a helicopter and pilots for a day.) The relationship between Delon's Coleman and Richard Crenna's Simon is a major theme. Coleman is a world-weary and cynical policeman who will employ brutal methods to solve crimes. Simon is an energetic and brave gangster/bank robber. Coleman is more romantically interesting to Catherine Deneuve's Cathy. However, Simon's courage during heist #2 probably wins the audience over. At the film's end we tend to like Simon more than Coleman.Deneuve's Cathy is one of the richest small roles in screen memory. She's not on the screen for many minutes, but when she is, Cathy is a devastatingly enthralling femme fatale.For a gritty, Hellish view of police and crime life; with three strong performances; along with a few toy trains and a helicopter, 'Un Flic' is One Crime Flick worth seeing.

Being Melville my favorite director ever and this his final film, what could I say .I was speechless when I first saw it years ago and even today after several views it still amazes me. Doubtless this was a great ending to his outstanding career, the man who redefined the film noir himself and whose films ,at least half a dozen of them, should be placed among the greatest pieces of film noir ever filmed could not do wrong in his Swang song .And he didn't do wrong indeed, probably it ain't as good as Le Doulous , LeSamurai , Bom Le Flambeur a, Circle Rouge and so on but it comes closer , which by any means does mean that this movie deserves less than a 10 . Initial scene , when the gang arrive to the bank they have planned to rob under the pouring rain , is so beautifully filmed that has become one of my favorite moments in his career.Melville came back once again to his traditional obsessions ( solitude , crime & betrayal, revenge ) and placed them into an amazing heist movie , as a way to explore the human nature.Once again Delon nailed it as the solitary cop and is the prefect vehicle to put face to all these themes. His performance is so chilled out and so classy , in the vein of the silent Jeff Costello , that this is another classic display of acting , no matter whether he plays a thief or a cop you always wanted him to win.You can predict much of the themes and situations you can face here if you've seen Melville's previous films , but nonetheless this doesnñt make them any lessexciting . Plot is pretty basic ,stripped to the very necessary, but what makes the movie are its silences and its ambiances ,totally filled up with hopelessness and despair . Don'texpect much talk here , Melville , unlike Tarantino, can pass on the message through without needing thousands of senseless speeches . In the end whether Delon will catch Crenna didn't seem to matter much, at that point you have come to know and love the characters as they are and how this will end up becomes secundary.

Un Flic, translated as A Cop, but rather known in English as Dirty Money, is essentially cool guy movie about man's men who are cops or robbers who smoke cigarettes, hang out in bars, do cool poses with guns and wear cool suits. But it is among the cream of that particular crop, and the reason is its stylistic subtlety and storytelling economy. It is not a feature-length music video like the Guy Ritchie films or an epic patchwork of references like those of Quentin Tarantino. It is utterly confident in its simplicity.Plenty hold that master French crime filmmaker Jean-Pierre Melville had reached his pinnacle long before this, his last film, and he definitely did. But Un Flic plays exquisitely with all his signature muteness, austere faces and bleak colors. Cinematographer Walter Wottitz eschews gloomy soliloquies and melodramatic dialogue for his steely color treatment. What few colors that do breeze in appear to exhale from the poignant grays. The characters barely speak, most conspicuously during the movie's twenty-minute intrepid train robbery sequence in which the robber is dropped onto a moving train via helicopter, performs the robbery and gets back on. The film spotlights two strikingly constructed heists, the other one in a bank. The first is the hold-up of an isolated Riviera small-town seacoast bank. Melville painstakingly films the unlawful act, and how it goes awry when a ballsy teller declines to be robbed without a fight.Melville's moody, idiosyncratic swan song is an ascetic inkling of the young though despondent, headstrong Paris police chief played by a volatile, willful Alain Delon, who is going after bank robbers and a drug-smuggling ring among his everyday quota of crimes to which he has grown apathetic. But these two crimes, as he discovers later on, are link and affect his personal life. The gang leader is indeed his counterpart, Richard Crenna, an underhanded nightclub owner he became acquainted with while having a prevalent liaison with his coldly gorgeous wife Catherine Deneuve. She shows no fervor for either of her lovers, the impervious ice queen. Crenna plays the civil competitor with played by Crenna with the chivalrous air of a frequenter of coffee shops and theatres. Deneuve plays her character as someone not interested in dividing her lovers by good and bad, but by charming or tedious. And Delon remains Melville's trademark tenacious individualist.It's a dismally ambient film noir with Melville linking his characters to the quiet panorama around them, as it is set in a neon-lit moist city outlook of despairing crooks who are getting old and need one last score to go out with dignity. Police brutality is understood casually as a truth of life, as are double-crosses among thieves. The film is shot in minimalist style, with the dialogue and the sets being scant, but not rawboned. Melville was a man of simple tastes, but idealistic, zealous, philosophical tastes at that. Un Flic, or Dirty Money, held my engrossment all through with a feeling of a dreamlike serenity before the brewing outburst.