Max et les ferrailleurs

Claude Sautet emerged at the tail end of the Nouvelle Vague and was undoubtedly one of the most gifted directors to have surfaced in the late 1960s, having first cut his teeth as script writer, cameraman, assistant director. Such complete knowledge of the entire cinema spectrum only assisted Sautet in cranking out wonderful flicks like MAX, UN COEUR EN HIVER. LES CHOSES DE LA VIE, QUELQUES JOURS AVEC MOI, among others.

In MAX, he is assisted by very effective cinematography by René Matelin, and Sautet himself had an important hand in the script, which is logical and credible, with always impeccably dressed detective Max paying protitute Schneider out of his own pocket to win his way to a potential thief's heart. NB - the reason I dock a star is that initially the aim of Max's operation was to catch in the commission of crime a certain Carmona, but the latter is never seen and after a while seems to have been forgotten.

Through the exceedingly sexy Schneider, we see Max sell the plan of a possible bank robbery to Schneider who in turn passes it on to non-customer, regular lover Bernard Fresson, a poor devil who earns his living from brute strength work and leaps at the opportunity of scoring easy dough. Georges Wilson is superb as Max's boss, aware of the consequences and injustice of forcing a criminal situation but willing to help one of his best detectives after the latter had bungled a previous operation.

The whole film turns around the relationship between Piccoli and Schneider, a prostitute who is happy to earn money without having to move her hips but who begins to get frustrated by Max's distant behavior, even if they kiss and you sense true love between them.

Ultimately, this well done film is about loyalty and betrayal, about overstepping the boundaries of legal and police work, and sticking to those cornerstones of justice, and it certainly had me thinking about those variants for several days.

Highly recommended. 9/10.

Claude Sautet made some of the finest pictures I have seen, over a period of three decades. If the script he is shooting is occasionally less than interesting, it remains that Sautet's talent is very great. He teamed with Romy Schneider on five films, helping her to shed the sex-doll image she had picked up through the Sixties.

Max is an obsessed, aging detective who sees life through blinkers. His colleagues humour him, although one gets the impression they would like to see him pensioned off. Lily the prostitute he falls for represents the one mistake in his life, if love may be called a mistake. Sautet gives Michel Piccoli and Romy Schneider plenty of room to develop their characters. There is one virtuoso sequence set in a junk yard in Nanterre, a run-down suburb of Paris: Rozinsky describes with no little humour the lives of some marginals, while Sautet's camera prowls around the site.

This is a very well acted and directed police story about a French detective investigating a gang of thieves which is headed by an old friend of his. What begins as a cynical film about violence and prostitution turns into a tender love story.

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.

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...