Das Mädchen und der Kommissar

My favorite writer, PKD, has written a short story adapted by my favorite director, SS, where police could arrest criminals before they commit the crime as they could guess it before hand (it's "minority report"). Here, it's even more diabolic: the police can arrest criminals before they commit because they know it will happen because it's the police that inspire the crime.

This Machiavelism is extremely well played by Piccoli as this crazy policeman. As the best brains in criminals, he builds his web with his colleagues and the poor bunch he has chosen for prey! The best is that his suggestion power is so amazing that he uses it indirectly, trough the girlfriend of the gang boss, played by our french Marilyn, that is to say Romy Schneider. Those two iconic actresses have really much in common: their talent, their fragility, their beauty and their tragic fate...

In addition, this movie has now 40 years and i'm amazed how life in France and Paris has changed (and you can Google map rue d'Argonne Paris to see it as well)

1) almost every big brand heard or seen in the movie has disappeared today ("suze", "crédit-lyonnais", "Byrrh", "prisunic"...)

2) this is the last years before computers and electronics and however, the people aren't cavemen, depressed or whatever bad: on contrary, they look more human

3) i can't explain this as i would be labeled as racist.

In addition of being a great thriller, this is also a wonderful love story, one of the kind that I like where the lovers are unable to tell the feeling. Those two stories run all along the movie and meet beautifully and dramatically in the climax.

In conclusion, a excellent innovative french thriller that has strangely escaped so far any American remake, even if this dark plot from security forces has emerged in books: read for example Forsyth's Avenger where the war on terror is played with the same rules: infiltrate cells and inspire them up to the point they can be stopped...

Undeservedly neglected, 'Max et les ferrailleurs' is one of the most intelligent, splendidly acted and carefully crafted French crime flicks of the 70's. However, cataloguing it as just another 'crime flick' would be sacrilegious, as it has to offer much more to the patient viewer.

Claude Sautet, from what I have gathered, is known for his dealing with the bourgeoisie's turmoils, often depicting complex social dramas in his films. Prior to watching 'Max et les ferrailleurs', I had only seen another great film he made with Michel Piccoli - Les Choses de la Vie, which is indeed quite different from 'Max'. The subjects and genres might differ, yet Sautet ingeniously manages to create intriguing character studies (as both films have fascinating protagonists) and, while at that, to depict perplexing and powerful love stories, which help shape the protagonists' moral portraits.

I won't insist on the plot; suffice to say that the film does not get dull at any time and it also does not fall into a standard, clichéd policier. Max, the protagonist, could be compared to Melville's Le Samourai, insofar as both are cold, meticulous, obsessive and enigmatic. The baddies - the 'junkmen'- are also well individualized, and here I should point out the excellent scene where policeman Rosinsky talks about each of them. Last but not least, there's also the divine Romy Schneider: between us, I wasn't able to take my eyes off her whenever she was in front of the camera.

One more aspect that amazed me about the film was the fluent and elegant camera-work, which had an immense impact on creating the film's atmosphere. Although I'm not by any means technical literate, the composition of the shots struck me as carefully planned and the lightning was spot-on.

In a nutshell, 'Max et les ferrailleurs' is more than you'd be inclined to think: it's gritty and elegant at the same time, it's brutal and sensual, it's a thrilling crime movie and a complex character study, in short it is what a good film must be. Don't miss it!

I went to see this movie today in NEW YORK is going to be show for one week only and for the first time is show in USA, the movie is very good with a great end but what make this movie good is ROMY SCHNEIDER 1938-1982 when she came out in the screen ,she play a prostitute named lily, the question i ask myself was how come somebody can be so beautiful so perfect i have not word to described this woman and beside her talent she was so good in her part i love this movie, ROMY IN REAL LIFE WAS NEVER HAPPY SHE HAVE A5 YEARS LOVE AFFAIR WITH ALAIN DELON AND AFTER THAT SHE MARRIED THE FATHER OF HER LATE SON David EVENTUALLY SHE DIVORCED HIM AND MARRIED DANIEL BIASINI THE FATHER OF HER DAUGHTER SARAH

Few people know it,but Claude Sautet was first a film noir connoisseur.His first work,"classes tout risques" was beating Jean -Pierre Melville at his own game;the follow-up ,"l'arme à gauche" ,is difficult to see nowadays ,but if you can ,do not think twice.

In the seventies,from "les choses de la vie" onwards,Sautet became the cinema de qualité director .I mean it pejoratively.Whereas "les choses de la vie" remains watchable today ,thanks to a sensational editing,the other works such as "Cesar et Rosalie " "Vincent François Paul et les autres" "Mado" are depicting a bourgeois life ,speaking of people "in danger of despair"(Sautet Dixit) but with an optimism that was almost unbearable in the crisis of the seventies.The screenplays became very loose,without any dramatic progression .You can sum up "Cesar et Rosalie" like this :"Rosalie loves Cesar ,but she also loves David.What will become of her ?":everything taking place in desirable mansions ,what a contemporary critic aptly called " un espace Cardin" This is two-bit psychological drama ,with ponderous symbolism,as "Mado" will confirm with its infuriating scene where the cars get boggeddown in the mud .a critic said then "it's the movie that gets bogged down itself.

"Max et les ferrailleurs " is a different matter;by combining the film noir side of the two first opus with what will be developed (in a very gauche way) in the "psychological" future films ,Sautet brings it all back home.It stands out as his most sustained piece of work in the seventies.An absolutely intriguing work,with a beautiful Romy Schneider who keeps the audience waiting,only appearing after 30 minutes.Her relationship with cop Piccoli is very shady,sometimes recalling the Fonda/Sutherland one in Pakula's "Klute" :it really stands comparison with it.A wonderful depiction of a popular milieu,in the suburbs of Paris (Nanterre) ,where the secondary characters seem to be out of a Duvivier or a Clouzot work.But it's finally the Jacques Becker spirit Sautet captures here ,and it's really too bad that,after such an interesting movie,he fell into the trap of the academic cinema de qualité.

Excellent crime drama, beautifully underplayed by Michel Piccoli and Romy Schneider. Good story with a beginning, a middle and a surprise ending. You'll think about this film for days afterwards and want to see it again. If you love movies, you'll love this one. It will make you want to see more of Claude Sautet's work. [I have not as yet].