Triángulo mortal

Kenneth Fearing wrote poetry for love and pulp fiction for money. Should the plot of this sylish enterprise from Alain Corneau seem vaguely familiar it is because Fearing's novel 'The Judas Picture' had already been filmed as 'The Big Clock' and would turn up again in 'No Way Out'. Indeed Corneau's film is a nod to Hollywood as its enigmatic title refers to a firearm issued to the American police.

France produced more than its fair share of 'Policiers' in the 1970's which are basically pulp but with excellent production values and this one is no exception. Stylish cinematography and taut editing enable the film to justify its two hour length. There is no doubting its power to grip and to hold ones attention.

This is due in no small part to the protagonists being played by Yves Montand, Francois Périer, Simone Signoret and Stephania Sandrelli.

Like so many actors Montand gained depth with maturity and is utterly compelling here as a police inspector whose professional and emotional life is unravelling and who goes to the most extreme lengths to conceal his identity! Stalwart Périer is superb as a jealous, middle-aged man whose moment of madness wreaks such havoc and Sandrelli brings an added dimension to the role of unwitting femme fatale. One runs out of superlatives when speaking of Simone Signoret, an artiste of great courage who seemed totally devoid of vanity and who made the difficult transition from sex symbol to character actress. She lends an especially emotional presence here as Périer's invalid wife.

Whether the plot evolves into grotesque absurdity or surreal nightmare is of course down to the individual viewer but while watching this bizarre tale unfold I was reminded of Einstein's observation that "the Earth is the insane asylum of the Universe."

Finally a film that will have you gripped to your seat till the end, and yet which is neither melodramatic nor manipulative. Great cinematography and music and of course, the cast, let alone a tight plot make this film a must-see. From the always reborn love triangle, the story develops with the right timing, faster than your average French film, and yet without anything of the Hollywood clichés that usually ruin everything. Signoret is lovable as the handicapped wife who nevertheless seems to always know everything. "dbdumonteil" on IMDb is right on track about the depersonalisation, thus adding another layer of interpretation to an already engrossing flick. I agree with "Olof" reviewer on Amazon that "Alain Corneau didn't exploit Stefania Sandrelli's scene stealing abilities", thou.

I am still wondering why Inspector Ménard does... what he does (can't say more), but my only hunch is that "violence redeems sins". I am open to hearing from other reviewers, as I can't make up my mind about his change of attitude. Of course, the fact that a film 25 years old can leave you thinking after it's over is yet another reason why you might enjoy this movie.

first was Alain Corneau a fan of J P Meville?? in the film there is a scene where François Périer(the bad guy) looking at his shaving mirror, and adjusting his hat. and it reminds me of Melville's film "the samouri"

well the film is almost Yves Montand's monodrama, he walks as he walked in "the red circle",he shoots like he shot in"Z" only his old face has become older since then.. I admit he is not that type of hero----he is not looking very tough, he is no Belmondo or Ventura when he knocks down some guys in film , it's just ridiculous and unbelievable for me , oh , I shake my head and say that's not his job at all.. after all, do you believe the old ,senescent,grandpa could easily beat up a young lad who is apparently stronger and swifter than him?

Montand could have done more political thrillers , not action thriller which I think is his weakest strength

so the film fails

An excellent movie about two cops loving the same woman. One of the cop (Périer) killed her, but all the evidences seems to incriminate the other (Montand). The unlucky Montand doesnt know who is the other lover that could have killed her, and Périer doesnt know either that Montand had an affair with the girl. Montand must absolutely find the killer...and what a great ending! Highly recommended.

After the death of Jean-Pierre Melville the French cinema lost his first exponent who dares mixing two avant-garde and opposing visions on movie industry as Hollywood and the groundbreaking French cinema, soon the cunning Alain Corneau filled out this empty space holding this niche with same premise, blending these academies in this polar.

Blatantly inspired in The Big Clock he hadn't the copyright this novel, so Corneau had implied a meandering screenplay to get his target, also mimicking Clint Eastwood in Dirty Harry series, Yves Montand playing the already dead within character made a stunning performance side by side with his real wife Signoret and the bleak chief played by the outstanding François Périer, the eye-candy Stefania Sandrelli enlightens the movie to high level due her undeniable and unique beauty, the picture holds the audience in the chair since the early scenes until the ending, further totally restored in widescreen colorful format is priceless.

Thanks for reading

Resume:

First watch: 1996 / How many: 2 / Source: TV-DVD / Rating: 8.