Well, I'll tell you it was her loss, for I had scored a major find with Criterion's new DVD release of Jean-Pierre Melville's classic BOB LE FLAMBEUR. Sure, I didn't understand a damn thing that was being said until I started reading something called subtitles written words at the bottom of the screen that apparently tell you what the characters are saying. (Wow, who would have thunk it!) So while my girlfriend was out cruising, I sat awestruck as the delightful tale of Robert Montagne, a Flambeur (which is apparently French for severe gambling addict), unwound itself before my tearstained eyes.
Robert, or Bob, (played by the dashing Roger Duchesne) is the sort of suave criminal that belonged to the French of the pre-World War II era (before the criminal element's reputation was tarnished by Nazi alliances). Sadly, it's post WWII and he stands in marked contrast to the surroundings that no longer support such a Cary Grant style hood. Out of his time, he finds himself on a losing streak that threatens to wipe out his lavish lifestyle. Enter the femme fatale figure of Anne (Isabelle Corey), a 15-year-old streetwalker with a devil may care bed-hopping attitude. Bob is attracted to her, and apparently she to him, but is too damn suave to play the sucker, so instead he passes her to his young friend Paulo (Daniel Cauchy) whose naïve ways with women can only lead to heartbreak with such a hot potato. Meanwhile, Bob keeps losing and losing; down to his last penny, he hatches a plan to rob the Deauville casino. What will happen?
In today's Postmodern environment one feels inclined to discuss BOB LE FLAMBEUR in terms of its relationship to the American gangster films that influenced it, and perhaps even look at the way the film functions as a critique of such gangster films. I, however, do not. Instead - and please don't read this paragraph if you don't like spoilers - I can say that I found the film to function in the Frank "pay for the happy ending" Capra style, with the eventual re-birth, through luck, of the main character. The happy ending delivers more power by being presented in a genre that usually offers up a glum finale for its "losers of the world."
Melville's narrative is slick with style and ripe with rich faces: it's got a smooth flow. The composition is provocative enough to make one feel like declaring, "Every shot is a picture suitable for framing." The loosely translated subtitles may not be able to convey the French slang utilized in the film, but the rhythm is there: you can feel it in the visuals, the edits and the rich soundtrack. Simply put, it's just a great film.
As usual, Criterion has done a top-notch job with this release. The picture quality might be described as "breathtaking" except I don't recall at any point asphyxiating during the film. Minor blemishes do occur from time to time, but amount to mainly faint scratch lines. The remastered sound is practically free from pops and hisses, allowing the riveting music score to pack a full punch. The vocals are dubbed, even in the original French, so there's that familiar GODZILLA feel.
Included with the extras are a video interview with the film's co-star, Daniel Cauchy (Paulo), and a radio interview with Jean-Pierre Melville. The video interview has Cauchy talking about his relationship with Melville and mostly refers to his work on BOB. Interestingly, the actor/producer is fairly critical of the film, feeling that it tends to drag at points. He also makes pointed commentary on some of the directors who have complimented him on the film, finding it odd that a director of more bombastic fare like Spielberg would find such a cerebral film so enjoyable. (Maybe Cauchy and Lloyd "Troma" Kaufman are friends.) The radio interview with Melville is relatively interesting but hampered by the fact that Melville tends to drift off into French and the interviewer has only seen two of Melville's films.
Rounding out the extras is a theatrical trailer of the film.
Jean-Pierre Melville was one of France's leading independent filmmakers, paving the way for the New Wave directors to come. His work has sadly been little seen on these shores and one hope that BOB LE FLAMBEUR will receive the response it so richly deserves, resulting in more stateside releases of this influential and talented auteur's films.
LOGIN
REGISTER
RSS
HOME
