Cine negro a la francesa. Calidad y clase. La escena del atraco es increíble
Cumbre no solo del noir francés, también del cine negro universal. Estilo narrativo seco, directo, grandes actuaciones (sobre todo, el sobrio y trágico Jean Servais) y perfecta recreación de los arquetipos del cine negro. La escena del atraco es para enmarcar, dando un punto de naturalismo magistral a la acción. Todo tiende hacia un fina casi operístico e inolvidable. Perfecta desde el primer plano de la timba de poker hasta ese final aludido, una obra maestra con mayúsculas.
PE LI CU LÓN
cine negro del bueno...
The modern heist movie was invented in Paris in 1954 by Jules Dassin, with "Rififi," and Jean-Pierre Melville, with "Bob le Flambeur." Dassin built his film around a 28-minute safe-cracking sequence that is the father of all later movies in which thieves carry out complicated robberies. Working across Paris at the same time, Melville's film, which translates as "Bob the High Roller," perfected the plot in which a veteran criminal gathers a group of specialists to make a big score. The Melville picture was remade twice as "Ocean's Eleven," and echoes of the Dassin can be found from Kubrick's "The Killing" to Tarantino's "Reservoir Dogs." They both owe something to John Huston's "The Asphalt Jungle" (1950), which has the general idea but not the attention to detail.
Jules Dassin's classic jewel-thief caper of 1955 looks as smart as paint, with its unendurably tense, entirely wordless robbery section, and its beautifully constructed payoff in the final act, built on failures to communicate superseded by the cellphone age. In fact, the whole robbery is from a low-tech, even pre-tech era, larceny on a human scale, hinging simply on spraying fire-extinguisher fluid into an alarm-grille, which somehow makes it more real and more exciting.