If Coleman is a victim, it's of his own hard code. I don't think "Un flic" sells the idea as well as it thinks. "We're doomed victims, the prey of actual pros," is something a blackmailed homosexual tells Coleman, which serves as a kind of motif for the film. His film, like the dialogue sprinkled through it, remains elliptical all the way through. Though employing real locations and real-time sequences, Melville doesn't seem nearly as interested in telling a solid crime story, with motives and meanings laid out. Yet its aftermath proves central to everything, by which time Melville is giving us not riddles but koans. We have little idea how the train heist is being done, or why it leads to the final act the way it does.
#Un flic movie movie
The weakest element for me in this movie is not the Tyco episode itself, but how it is integrated into the rest of the film. Here, and in many other ways, Melville was clearly doing things his way, establishing meticulous realism in some scenes only to abandon it in others, most notably in a later train heist which features some fine suspense work but was clearly filmed with models. What is up with this scene? It features four French robbers, only one of whom is actually played by a Frenchman.
You can see the fear in Paul's eyes as he reluctantly leaves the vehicle to play his part. In the car, a former bank manager named Paul (Ricardo Cucciolla) hesitates while the driver, Louis (Michael Conrad) looks at him hard.
#Un flic movie pro
The old pro who joins him first, Marc Albouis (André Pousse), reads cool and empty. A short but portentous scene is played out through their eyes. With rain crashing around them on an empty street, three of the four men wordlessly get out in turn to take their positions in the bank. The car with Simon and the other robbers moves slowly into position. We open on the sound of crashing waves, filling the screen with blue. Director Jean-Pierre Melville was a leading light of the New Wave movement, and his commitment to impressionistic pure cinema is on strong display right at the outset.
"Especially about skepticism," Coleman replies. "This job makes us skeptical," his deputy Morand (Paul Crauchet) notes as the pair leave a morgue. Coleman is suave but conflicted, willing to slap around a suspect or even a suspected suspect but not so hardened as not to be conflicted about that. "Un flic" (A Cop), also known as "Dirty Money," is a film about the dehumanizing nature of police work. In time, their lines of work will shake their friendship like nothing else, not even Coleman's affair with Simon's wife, Cathy (Catherine Deneuve). One of his regulars is a quiet police inspector named Coleman (Alain Delon). The lead crook, Simon (Richard Crenna), leads a double life as the owner of a French nightclub. Late one rainy afternoon, four men rob a bank in the French coastal town of St.-Jean-de-Monts, not without deadly complications. Can a soufflé still taste good, even a trifle underbaked and missing an ingredient or two? The answer depends on the cook.
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