Le Doulos

Melville's films have always been more interested in character than in plot, and Le Doulos, despite its labyrinthian landscape of double crosses, is no exception: what Melville is after is their motives and their trustworthiness. As a viewer, you're never sure just who's on what side, and the film creates tension by never letting you in on everything. Even at the end, it's hard to figure out exactly what's happened. Le Doulos has all the class and style you'd expect from a Melville crime film.

Another solid, beautifully shot crime film by Melville. Much too explanatory and rushed in parts, but still as slick as they come.

This slick crime flick had a surprising amount of twists and turns. Ruthless men trying to get away with terrible things, and the viewer is gripped by what takes place all the time. Dense, surprising and stylish.

A convoluted, shadowy labyrinth of a film. The viewer is kept in the dark, constantly guessing, and the narrative takes many sharp and unexpected turns. Its understated nature makes this film no less gripping. Belmondo effortlessly plays it cool and stoic.

Unlike 'Le samuraï and 'Le cercle rouge', this is heavy on plot, but it didn't hook me. I'm sure that it would have helped if I liked Jean-Paul Belmondo, but I find the guy very tiresome.

In the famous run of the 60s french crime movies extravaganza, Jean-Pierre Melville led an entire army of gangster film fanatics to there final destination. This right here, Le Doulos, proves that in just moments of playing. Two-faced and undoubtly dealing with the theme of betrayal, everybody is against each other. There are no allies. Plus, it oozes with coolness.

An impressive labyrinth of a plot, with an excellent twist on it. The opening scenes of foggy streets and double dealings had me hooked in but I just don't care for Belmondo in this, and he's in a large portion. It's either the habits he picked up off Godard leaking into this film or he simply wasn't right for this part - idk - maybe a repeat viewing would change my mind. This would be one of my favs if it wasn't for him.

Another dark and exciting Melville crime flick. A few missteps in the last act take this down a notch for me.

Tightly wound crime film with appropriately dark performances. Some of the visuals are great too, but the centerpieces has to be the script. Great lines, solid pacing and full of intricacies that come together in a fantastic finale. A great nod to those classic noirs.

Deep in the maddeningly complex web of deception is the first glimpse of Melville's samurai noir character. A man whose elaborate plans serve to achieve the simplest of credos.

Good Melville, though still en route to his prime. Only a little bit repetitious, lacks the incredible economy of later works, and finally Belmondo - though a star in those years and an impressive presence on the screen - struggles to act at the level of the other cast members.

Yet another Melville film that I can easily admire for its massive "coolness". The twist here just shows how great this script was. Still very new to noir, but I'm starting to fall in love.

Jean-Pierre Melville #1

I feel guilty over this one and can't rate it very properly. I had to take several breaks due to restlessness and regretted it by the end. Le Doulos examines the shaky alliances of friendship and business among criminals in an understandably cutthroat world. The narrative allows the viewer to reach into the doubt of the protagonists through the powers of confusion and subverting the answers. Be more patient with Le Doulos than I was; it will pay off.

Complex and detailed.

A very good film about the question of ethics. Also about hats.

Another contrived unsatisfying ending.

Had it's moments. But some of the twists seemed a bit pointless, it was like watching the New Wave version of the Dear Sister sketch

I was a bit too tired while watching it, but it's still an excellent film. I'll definitely need to give it another go.

This Jean-Pierre Melville film really sets the template for what he will do throughout the 1960's. Really slow and methodical crime capers with cops and criminals talking to each other in drab rooms or really stylish nightclubs. I love every minute of all of them and this is no exception. Michel Piccoli turns up in the second half of the film which is always a joy. An extremely young Philippe Nahon shows up as Reggiani's ill-fated partner in crime.

Not quite as gripping as Melville's best but it does contain all of his hallmarks, has some memorable scenes, and has a pretty great final 10 minutes (after a pretty lame preceding 10-minute exposition dump)

86.500

perfect noir. Does not get much better.

Early Melville gangster film features all of the trademarks of his later works. It's really a treat to see a 20-something Belmondo already playing up his classic mannerisms. The use of light was a bit weird for me - it seemed clumsy and lazy, sometimes creating double shadows behind characters, but this happened so often in interior scenes that it was probably deliberate. It was still off-putting.

87.750

Em honra do centenário de Jean Desailly. Enquanto da primeira vez que o vi o considerei uma obra-prima absoluta, dessa vez ele caiu um pouco no meu conceito, mas ainda uns dos exemplares mais bem acabados do polar francês e da carreira de Melville. Plus: Soube que ele é a maior inspiração para The Irishman, o que só aumenta o desejo de finalmente ver o filme do Scorsese. Box Versátil A Arte de Jean Pierre Melville.

Belmondo is cool, but he is outshone here by Serge Reggiani. A more world-weary portrayal of a noir anti-hero I have yet to see. The opening scene in that dingy little house - hell, even the opening credits as he walks to the house - sets the tone beautifully. Tired and trapped by a world he cannot escape and surrounded by people he cannot trust.

Great film. Melville's ingenious plotting and expressive cinematography leave you guessing.

"Le Doulos roots itself in traditional noir themes of providence, of loyalty and betrayal, of male codes of honor, and ultimately of man's inability to escape his lot in life." - Nick Schager

Great cast - it captured essence of film noir - but lacked subtle coolnes of the american equivalent. .

Melville does American-influenced crime movies as good as anyone. Wonderfully stylish and dark, with a gripping and beautifully constructed plot. The characters are well-realized and the atmosphere is tantalizingly melancholic. One might be inclined to single out Belmondo, but I actually think this is one of his less interesting and charismatic performances. More compelling is co-lead Serge Reggiani. Also worthy of mention is the sublime score by Paul Mizraki. Excellent film all around.

This is a very hip cool film, and I would rate it even higher if I could make sense of the plot.

Another '60s French crime film that has a real sociological interest in just who these crooks are and how their subculture works. Plus I strongly recommend you pay close attention, since the plot is highly complicated