Mil millones

Capitalism, liberalism, profits, benefits, money, power ... how far can this vision of life can lead to ? This movie deals with a story that could easily be classified as 'usual' today ; a journalist tries to find the truth about a big holding shady business and discover tremendous things that make his life in danger.

Beyond that cliché of cinema, "Mille Milliards de dollars" points at the world we're living in, where money and power rule, where people thinks to be free but are actually pawns moved by interests and to make always more and more benefits, where the stakes are so huge there are no law anymore, no human beings, just customers, workers, business, profit: The real power is not in politic but in money !

Made about 20 years ago and still so actual...a great movie !

... like any other film directed by Henri Verneuil. "You freed us from a military occupation to replace it with an economic occupation", says Dewaere's character to Mel Ferrer, a current truth. Patrick Dewaere is not very expressive but it's his nature as an actor, and in this film he fits perfectly with the character. Yes, the film clearly shows the delusional cynicism of the "powerful", and the shameful origins of certain major capitals today. Two small but exceptional performances by two great French actors, Jeanne Moreau and Charles Denner. Jean-Pierre Kalfon is also very good in the role of the killer. Music by a great master. Philippe Sarde.

I expected far more, far better from the director of I COMME ICARE, another political thriller which was in the PARALLAX VIEW line, whilst this one, starring Patrick Deweare, looks like a Sidney Lumet or Sidney Pollack's film. I am deceived because it is not dark, nor gloomy enough, it deserved a more complex and shady atmosphere, with a gloomy ending. It is too "soft", too smooth. Yes, sorry, I waited for some more action in this Henri Verneuil's film. Patrick Dewaere is of course as fantastic and convincing as ever, no problem, but he can not steal the whole film either; I saw this movie several times since forty years and my feelings are still the same. Sorrry.

With "I comme Icare",Heni Verneuil whose know-how was never called into question became more ambitious ; although handicapped by a thoroughly implausible ending ( an easy way out "I comme Icare " avoided ,and in a stunning way at that) and a cliché used for the umpteenth time : the divorced couple who through danger and trial , ultimately fall in love again .

But all that remains is successful ; the depiction of the schemes used by an American multinational to take over French (among others) industries is a difficult subject , not spectacular at all .Mel Ferrer's genial and cynical speech (which must not exceed two minutes, because" I do not want to bore my audience") reveals,behind the façade of respectability an adamant icy personality ( see how Michel Auclair is fired) , the huge meeting ,around the table looks like a Maffia reunion .

The flashbacks are ,like in "I comme Icare " , smartly introduced ;sometimes it's a "enough is enough" feeling when they turn black and white to describe GTI 's involvement with the Nazis and their ruthless opportunism ,but thanks to the actors , the movie survives the heavy intentions .

The sadly missed Dewaere ,unlike Belmondo in "peur sur la ville" ,never hogs the stage and ,as he is the only main character in the whole movie,he carries it on his shoulders ,without overplaying ; Jeanne Moreau makes her one and only scene count;so do, in their small parts ,Anny Duperey ,Michel Auclair and veteran Fernand Ledoux whose career began in the silent age ; On the other hand ,Caroline Cellier,an excellent actress, is given a cardboard character and cannot do anything with it .

Verneuil was always despised by the highbrows ; but his best works must be restored to favor.

Not quite what you would expect from someone like Henri Verneuil. Patrick Dewaere does indeed rescue the film from complete oblivion. While Robert Lattes' novel makes pleasant reading (if you read French, that is), the movie adaptation doesn't amount to much. Denouncing the ills of "big business" is certainly laudable, as is placing the action if the larger picture of "economic history". But is this sufficient to keep an audience spellbound from beginning to end? All the ingredients are there for the taking. But Verneuil never seems to be willing to go all the way, and he simply leaves you high and dry. Enrolling a better- than-average cast of actors is no guaranteed recipe for success. If all you're looking for is just to sit back and relax because you've nothing better to do than watch a movie, OK -- go ahead. But if you're looking for a good French movie, skip this one. A sheer waste of time. (But read the book by all means).