Same here - i've seen only LCRQuote:
Originally Posted by kannannn
Thanks for the recommendation :thumbsup:
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Same here - i've seen only LCRQuote:
Originally Posted by kannannn
Thanks for the recommendation :thumbsup:
I'm addicted to this film, the way it's made, and the way it unfolds. Deadpan protagonist has never been as apt! :lol:Quote:
Originally Posted by kannannn
Yes, and the way he remains cool even with a gun thrust on his face..
"Nothing to say? "
"Not with a gun on me. "
"Is that a principle?"
"A habit."
And towards the end when he goes on his final assignment..
"Why Jeff?"
"I've been paid to."
Melville is both expressive and illustrative in his visual narrative, the mise en scène is utilized to the T. It's a feminist film in my estimation, especially the key here is to juxtapose Jane and Valerie, and study Jeff's motives, & the deceits from the other men, and it fits my claims. The general mood of the film is in line with the character's, in turn a Samurai or a Ronin's bushido (married to the noir elements, making it all the more special.)
P.S: The slow death of cagebird gave it away though, not to say the symbolism is impertinent.
That is a compelling argument :D. A common feature of Melville's movies, as far as I have noted, is the strong female characters. The defining moment of the film is, according to me, the scene where Valerie decides not to pick up the phone, instead choosing to move over to the Boss' side of the house, thereby pushing Jeff to become passive to an extent. I think the statement he makes to Valerie in the end is much more than what Wiki says - it is as if Jeff wants Valerie to see the implications of her refusal to help him.Quote:
Originally Posted by thilak4life
The starting scene (with the caged bird) pretty much sets the mood for the film, with the noir element accentuating the feel of solitude. It is perhaps this solitude that forces Jeff to choose his path later on.Quote:
Originally Posted by thilak4life
Another common characteristic I noted in Melville's movies: The background music is mostly in live form - it is either the piano being played in a club house or a radio that has just been turned on. In fact, I didn't expect Valerie's character to have any significance, dismissing it as just another Melville trade mark. I was pleasantly surprised when her character turned pivotal :D.
:exactly: I also thought the water bottles in the apartment, the hats, coats, cars, keys, etc symbolizing the consumerist bourgeoisie, further resonated by the redundant life of Le Samourai. The confined apartment life. Furthermore, the bird's sound is repetitive and best resembles the monotony.Quote:
The starting scene (with the caged bird) pretty much sets the mood for the film, with the noir element accentuating the feel of solitude. It is perhaps this solitude that forces Jeff to choose his path later on.
On Valerie, I read a review with an interesting take,
As a myth, on the other hand, Le Samourai is a variation on the theme of Orpheus being called to the underworld. If, in Orphée, it was the otherworldly Princess who becomes susceptible to human feelings and returns Orpheus's love, here it is the icy, solitary Jeff whose feelings are awakened and who, thus shorn of his strength, deliberately accepts death and destiny. And just to underline the parallel with Orphée, the Princess is a white woman dressed in black, while Valérie is a black woman dressed in white.
The ronin in Jef (the cold ruthless hardwilled warrior) is actually vulnerable, and it's the woman who finally wins him over. Valerie (translates to valorous ) is ultimately the pivotal.
Very interesting review there. Thanks Thilak :D. As I was reading the review, I couldn't help but notice the contrast in 'Le Samourai' and 'Le Cercle Rouge'. While the former heavily plays on the softer side of Jeff (vulnerable, as you have observed), the latter is stripped down of any such emotions. It is a purely masculine movie (I am sure CR would agree :D) with just hints of how our hero (?!), again immaculately played by Alain Delon, comes to realise the true betraying nature of his lover. In fact, the female character speaks all of one line in the whole movie. In 'Le Samourai', he deliberately lets himself to be led by Valerie. OTOH, in 'Le Cercle Rouge', he chooses his path as a means of getting back - and being defiant- at his previous love. Hmm.. maybe I should revisit 'Le Cercle Rouge' to look back at the finer points.Quote:
Originally Posted by thilak4life
Kannannn, I thought LCR was a lighter film, but as you said, there must be finer points. That's an exciting juxtaposition with Le Samourai.
BTW, the opening quotes with a revolving laughing budda!
"Siddhartha Gautama, the Buddha, drew a circle with a piece of red chalk and said: 'When men, even unknowingly, are to meet one day, whatever may befall each, whatever the diverging paths, on the said day, they will inevitably come together in the red circle.'"
Wiki says that Buddha said no such thing, and Melville made it up, just like the budisho epitaph in Le Samourai (There is no solitude greater than the samurai's, unless perhaps it be that of a tiger in the jungle.)
Check this out,
Looking forward to this film
Continuing with Noir, my latest is 'Rififi' (Boy, am I enjoying the Holidays!!). A demoralised and physically weak ex-convict is trying to turn clean when his associates coax him into leading them on one last job - to burgle the most famous jewellery shop in Paris. All goes well until one small mistake leads them into direct confrontation with one of Paris' most dangerous underworld gang. The film is most famous for its 30 minute, tersely silent heist scene, but that was not what engaged me. The screenplay, the dialogues, the portrayal of inner turmoil of the characters were so mesmerising that I found myself contemplating its near perfection much after it ended. The DVD comes with a 4 page booklet that details the fine points of the movie and provides an interesting account of its production history. Buy one and you won't regret it!!