Tengo derecho a matar

With recognition of some details that mark this as a very French production (chiefly the opening scene, and the details of characters that flow from it), I don't think it's unfair to say that this movie comes across as a thriller that very easily fits in with like contemporary fare from Hollywood and elsewhere. I say this in terms of both its content, absolutely, and in a broader sense the quality. I don't think there's any arguing that all the pieces are here: two well known and deservedly well regarded leads in Alain Delon and Lea Massari; betrayals, killing, a protagonist on the run, and a supporting character risking much to render aid; the inevitable development of a romance that's almost invariably a little less convincing; excellent craftsmanship across the board. I'm not sure that all those pieces fit together into the precise ideal shape, but the underlying strength is there, and 'L'Insoumis' is much more enjoyable and well made than not.

The troubles I see aren't nearly so severe as to wholly dampen the viewing experience, but they do stack up through to the very end when the feature abruptly cuts to Dominique for a few seconds. From the very beginning the dynamics between Thomas and Dominique are marginally ill-fitting, like puzzle pieces that mostly fit together but don't 100% comport; how they act around or for one another seems in some degree a contrivance of "just so" Movie Magic. Georges Delerue's score is splendid in and of itself, lending to the mood of any given scene and definitely suitable for the genre. In some instances I think it's too prominent in the audio mix, however, or a theme comes in on the soundtrack too early, or maybe one is just slightly out of place. Some fragments of the dialogue and scene writing feel a tad out of place, or possibly unnecessary - that is, anything speaking to Thomas' background or history, arguably even the opening scene, that doesn't pertain directly to the active narrative. On the other hand, that Thomas' background isn't fleshed out more means the ending doesn't carry nearly the weight that it should. Above all, this feels incrementally imbalanced between those facets that are pure drama, and those that are of the abject thriller variety; as the plot switches back and forth, the drama feels slow amidst the thrills, and the thrills seem unevenly stitched on amidst the drama.

All this is very unfortunate, for it bears repeating that 'L'Insoumis' is still a good time more than not, and I appreciate the work that everyone put into it. The stunts and effects are terrific; I rather love Claude Renoir's mindful cinematography. The cast give strong performances, with Delon and Massari naturally standing out most, and I think Alain Cavalier's direction is solid in orchestrating shots and scenes. Even aspects like the production design, costume design, and hair and makeup are fantastic, and I recognize robust foundations for the plot in Cavalier and Jean Cau's screenplay. The narrative is complete and compelling; not all the characters are necessarily fully fleshed out but even the sketches are enticing; the scene writing is firm both in and of itself and in providing building blocks for the whole. Would that the rough edges were smoothed out, for if they had been the film at large would have been improved. If the writing were tightened and more balanced, and a more meaningful relationship developed between Dominique and Thomas from the very start, this could only have been elevated. I'll allow that cuts which were accordingly demanded by censors may have contributed to some of the issues I see, including a very curt ending. Still, I've a hard time imagining that a post-production hackjob is entirely responsible for the weaker points.

Regardless, when all is said and done, I do think this is worth checking out. It's entertaining, and well made, and Delon and Massari are as reliable as they've ever been. Even if weren't for some distinct flaws I don't think this was ever going to be a total must-see, as comparable titles are all to easy to seek out. Still, though there's no need to go out of one's way, I'm of the mind that 'L'Insoumis' deserves a look if you come across it, suitable for something to watch on a quiet day.

This film just shows up every now and then on Turner Classic Movies in a dubbed version: it's a surprisingly moving film from the 1960s, a period in which cultural values were undergoing major changes. The hero, played by a dazzlingly handsome and charismatic Alain Delon, is a Foreign Legion deserter and has decided, after his quick escape, that amid all the political drum beating in France and Algeria at the time, all he wants to do is return quietly home and tend his bees and see a daughter left behind. He wants no more of shooting. Little does he know.

Delon must find enough francs to smuggle himself across the waters to France, and in selling his services gets caught up in a chase situation with a woman hostage, and by this time the willing viewer will be caught up as well--the cinematography is compelling, the music score unobtrusive but appropriate, and actors backing up the central performance all give memorable performances that often cross paths in one way or another.

Usually I run screaming from the screen when a film is dubbed from French or Italian into English, all the gestures and voice qualities out of whack with the original film or actor. This one, however, works well, and I found within ten minutes I was lost in the chase; the only complaint I had was in the nature of the ending, and there is no place in an informative review to discuss it here. See for yourself--if you can find it.

The female lawyer on whose kidnapping this film is based successfully sued the producers, among whom was Alain Delon, for violation of privacy. As a result the Court ordered twenty-five minutes' worth of cuts which naturally made the film nonsensical. This was obviously a bitter blow for director Alain Cavalier whose decision to make a film at that time with a backdrop of the Algerian War took courage and for Delon who gives one of his finest performances. Happily those scenes have now been restored. Delon plays Thomas, an ex-Legionnaire who is paid by the OAS to guard two French citizens one of whom is a female lawyer. He helps them escape and is thereafter a hunted man. Matters become even more complicated when he and the lawyer begin an affair.........

Delon, perhaps drawing upon his experience as a soldier in Indochina, is sensational as Thomas and is perfectly complemented by the magnificent Italian actress Lea Massari as Dominique whose chemistry is palpable whilst Georges Geret is excellent as his former lieutenant who becomes his pursuer.

Cavalier has the services of the brilliant cinematographer Claude Renoir and there is a great but sparingly used score by Georges Delerue.

This compelling and haunting film has neither a wasted shot nor a false moment and I strongly urge you to see it.

And what a performance for the greatest French actor ever, with Jean Gabin, the most widely known. Here he plays a lost soldier, whose fate is lost in advance because of a desperate fight. His performance is realistic at the most and the directing absolutely flawless, never boring, tense. Alain Cavalier also gave us here, just before MISE A SAC, one of his classical part of career, before he got lost in a very intellectual second part, very "sealed" and not destined at all to wide audiences. This story evokes the post French Algerian war and its whereabouts, with OAS underground matters. The cast besides Delon is also excellent. Especially Robert Castel in a supporting role very close to what he really was: an French Algerian "pied noir", a colonist living in Algeria and fighting against independance. Robert Castel who also was an OAS member in René Gainville's LE COMPLOT. Of course "pied noir" was connecetd with OAS in those times.

This is a little gem. Alain Delon plays a deserted legionnaire who gets hired by the OAS (Organisation de l'armée secrète, which translates to Secret Army Organization, a short-lived French terrorist group) to kidnap a lawyer and hold her prisoner in Algiers for several days. He falls in love with her and helps her to escape. From now on the OAS is after him.

This is a chase film, which starts as a tough thriller and half way through turns into a gripping melodrama which is engaging because of the tender love story which comes to the foreground and slowly starts to get to you.

I recommend this film for fans of slow-paced thrillers and fans of Alain Delon (check out his work in the cult classic Le Samourai) who once again displays his panther-like agility and steely determination. Also watch out for the superb black-and-white cinematography by expert DP Claude Renoir (who later photographed French Connection II). The film makes excellent use of real locations.

I also liked the melancholy feel of the story. The lead character's desire to return home to a place where he once was happy and which now seems so very far away is touching and has always stayed with me since the first time I saw the movie.