Drei Uhr nachts

Cult director Jean-Pierre Melville was originally involved with French art legend Jean Cocteau, but really found his niche making hard boiled crime movies. 'Bob le flambeur' was the first major work by him, and he kept making movies up until the early 1970s with 'Dirty Money'. His work had a huge influence on the French New Wave led Godard and Truffaut (who cast him in a supporting role in 'Breathless' as an acknowledgment), and has proved to be a major inspiration for American film makers like Scorsese, Tarantino and Paul Thomas Anderson whose debut 'Hard Eight' owes 'Bob le flambeur' quite a debt. 'Bob..' really knocked me out, and along with the equally brilliant 'Rififi' directed by Jules Dassin and released the same year, it's one of THE great crime movies of the 1950s, and should be mentioned in the same breath as Huston's 'The Asphalt Jungle' and Kubrick's 'The Killing'. All four films have had an enormous influence on most subsequent movies in the heist genre. 'Bob's plot is quite simple but the story itself isn't the half of it. What Melville DOESN'T say is just as important as what he does, and the viewer has to piece a lot of it together for himself. Roger Duchesne is super cool as Bob, the ageing gambler on a perpetual bad streak, Daniel Cauchy is excellent as his cocky young protege Paolo, and Isabelle Corey is sexy and intriguing as Anne, the jailbait who gets involved with them both. Personally I prefer this movie and 'Rififi' to 'Breathless' and any French New Wave I've seen to date, but that says as much about my taste as much as the movies themselves. Even so I highly recommend 'Bob le flambeur' to anybody who involves crime movies. It's a classic of the genre, and still fantastically entertaining.

Bob le flambeur (1956)

**** (out of 4)

Outstanding heist film about an old-time gangster and gambler (Roger Duchesne) who finds himself broke when he hears that a casino will have a large sum of cash available for the taking. Even though his friends and even the police warn him against it, he decides to try for one last heist. The French noir genre seems to be growing more and more popular each passing year as film buffs continue to check out new, forgotten or need-to-be rediscovered films from the genre. I came to this one first as I had heard it was one of the greatest and it's somewhat hard to imagine, after seeing it, that anything else could really come close. Everything runs so smoothly that one can't help but be entertained by the events going on and especially the noir-ish acts of always blaming the women for everything that goes wrong. This film comes off so fresh and original that one can't help but imagine what it must have been like in 1956 when this stuff really was ground breaking. One of the many positive aspects is the terrific cinematography that constantly has the film floating around and really giving us a great look at the streets, the casino and various other important things for the plot. The way the music score just blends in so well with the cinematography is certainly "New Wave" but it still looks fresh all these years later. Melville's screenplay also offers up some terrific dialogue that really puts you in the middle of what's going on to the point where you feel as if you really are watching real professionals getting ready to pull off a heist. What also stands out are the performances with Duchesne who is wonderful in the title role. I really loved the laid back approach to the character and felt Duchesne had so much energy building up inside of him you couldn't help but keep your eyes on him and watch every little thing he did. Daniel Cauchy, Andre Garet and Gerard Buhr add nice support and it was fun seeing Howard Vernon in a small role years before his work with Jess Franco. Then we have Isabelle Corey who in my opinion steals the show. According to the IMDb she was only 16 when this was released but she certainly captures the sexuality of the role very well and she sizzles each time she is on the screen. It's certainly easy to see why these guys would fall all over her. I'm still very new to Melville but this here is certainly an impressive start and I look forward to checking out more of his work.

Imagine a movie in which a gambler finds out about a huge payday at a casino and decides to pull off a major heist. He and a couple of friends find a rich backer to put up the money necessary to pull such a large heist and then Bob (the gambler) decides to enlist some others to help out. In the end, he has involved not 9, not 10, but 11 people in the heist. Sound familiar. This hugely influential film by Jean-Pierre Melville has spawned both versions of Ocean's 11 and is also often credited as the grandfather of the Nouvelle Vague movement.

This movie is French, so unlike the American versions of Ocean's Eleven, there is no singing, no laughing, no hi-fiving, just straight-faced gambling, plotting and even the loving is grim and made without a smile. The characters are memorable, especially Bob and Anne as they go through life expecting no happiness. Bob never goes to bed before 6am, as he spends his nights, every night, gambling at different locations. This addiction is part of who he is and plays a key role in the twist at the end.

This movie is like a good strong Camembert. As with many French movies, definitely an acquired taste, but once one learns to appreciate the sharpness, one realizes that there is nothing comparable. Camembert, unlike bacon, is not the food of joy. But it is good, flavorful, and powerful in making one want to partake again and again. Until you feel the tanginess in your mouth, there is no describing the taste or effect, but it is definitely worth the effort to build an appreciation for it. 8/10

Jean-Pierre Melville's "Bob le Flambeur" (1955) has been often called the first film of the French New Wave. First or not, French New Wave or not, "Bob le Flambeur" is one of the coolest and memorable films I've seen. The most fascinating element of this exquisite crime/dram/noir film is its title character, Bob Montagne- Bob the Gambler (Roger Duchesne). All women wanted to be with him and all young men wanted to be him. He was the man well respected and liked by the cops, the criminals, and the gamblers alike - the king of cool, the elegant loser with his own respectable code of honor. He drove an American car and wore an American hat but he belonged to the streets of Montmartre, Paris, where he was born just as the film itself that could've been only made by a French director who admired American films and had created a perfect blend of American gangster film and French sophisticated comedy of manners. Made back in 1955, the movie is fresh, crisp, sensual, modern and simply delightful. Having watched already all "Ocean's" movies, including Frank Sinatra and the Rat Pack's classic, I see where the inspiration for them came from. "Bob Le Falmbeur" was released in the USA in 1982, nine years after Melville's death and became an instant cult hit. Often, cult movies are not the best made but it is not true in the case of "Bob le Flambeur". Its direction is perfect: seemingly simple and truly elegant, its cinematography is beautiful, its music score is amazing and its characters are not the caricatures - they are the real human beings of flesh and blood and they have something (or a lot) to lose. Acting is great by everyone with Roger Duchesne unforgettable and Isabelle Corey as a young streetwalker Anne whom Bob took under his wing, absolutely marvelous in her first role - child-like innocent yet already perfectly aware of her powers over the men, by the words of Bob's friend, "she will go far -she knows what she wants but does not show it".

Bob Le Flambeur opens with a glimmering shot of early morning Paris, where we find the rugged, nonchalant hood Bob Montagne, sauntering through the neon lit streets, looking every bit the icon of cinema that he is. To Bob, everything in life is a gamble, an uncertainty, a ten-to-one shot. He inhabits a world of games and chances... as the gravel voice narration points out, "the city can be both heaven and hell, as long as you know how to play it". He is, as the title suggests, a man who lives and loves gambling. A one-time crook now taking it easy, we find him huddled in a smoky apartment - the walls painted black and white like a chessboard - hard at work towards yet another pay off. When he isn't 'working', Bob lives the simple life, hanging out in bars with old pals or relaxing in his penthouse apartment. His only real companion is Paolo, a young tearaway who idolises and emulates Bob's look and lifestyle. The child of a former friend, Bob becomes the surrogate father figure to Paolo, looking out for him and making sure he isn't consumed by the lure of the mean streets.

Bob le Flambeur was one of Melville's earliest entries into the gangster cycle that would later give birth to his better-known film, Le Samourai. Like that film, Flambeur is a technically assured and understated journey into the underworld, employing a raw cinematic intensity, knowing irony and loose plot, which can probably be seen as an influence on contemporary filmmakers like Martin Scorsese, Ringo Lam, Paul Thomas Anderson, John Woo, Quentin Tarantino, David Mamet and Wong Kar-Wai. It can also be seen as something of a revolutionary work, with Melville's bold use of real locations, available light and hand-held cameras offering an obvious precursor to the style of the later nouvelle vague, and, to great filmmakers like Godard, Chabrol and Truffaut. Like those directors, Melville has a strong understanding of genre conventions and the post-war Gangster ethos, and thus, crafts a film that is both European in style and sensibility, but at the same time, nods to the classic gangster movies of 30's and 40's Hollywood... giving us a cool and slick film, that still has enough edge and grit to make the characters seem like real people.

The plot unfolds at a natural pace, slowly at first, but gradually building momentum once all the major players have been introduced, with Melville creating something of a confrontational three-way struggle between Bob, Paolo and Isabelle Corey's deceptive femme-fatal. As the film progresses, we delve deeper into both the plot and the back story, finding Bob seriously out of pocket after a spot of bad luck at the casino... and, with only one way to go to get the cash back, he decides to pull off the ultimate gamble... by which, allow himself to be pulled back down into the criminal underworld that he'd almost escaped. From this point on the film becomes concerned with the intricacies of crime, the impact of friendship and the fixation and fundamental need to succeed, or else, forfeit the next ten to twenty years of your life... and for the aging Bob, this is not an option. At this point, loyalties are tested and precision film-making is pushed to the limits as the plot continues headlong towards its climax. The story takes all manner of twists and turns along the way, with Melville keeping the story rooted in the details of his characters and the intricacy of the crime it's self, so that by the end the film the whole thing has seemingly worked towards chance and blind luck... proving to some extent Melville's grand metaphor that life is the ultimate gamble.

Melville's film is one of the classic post-war noir films, if not one of the most important French films ever made... an evocative depiction of glistening black and white France, replete with shady gangsters, crooked cops, gambling dens, back street cafés and the ultimate heist, made all the more potent by the astounding performance of Roger Duchesne as the laconic and iconic Bob, and with great support from Daniel Cauchy as Paulo, Isabelle Corey as the wide-eyed Anne and Guy Decomble as Inspector Ledru.