Le marginal

With Belmondo as with many of the things that matter, either you love him or you don't. I do, and it comes in the family, so be forewarned :).

There are films that demand not to be analyzed. This is one. Belmondo is a cop who behaves like a gangster to, well, get the gangsters behind bars. His code of ethics wouldn't win medals in any police academy, even a Third World's. Speaking of which, the way we see Marseille, it could well be Turkey or Bolivia :). Facts are not stylized, our hero kills and fails to be killed just by chance. You feel the danger, for instance, when he gets into a squatter's den in order to rescue the daughter of somebody whom he put into jail. He's a hardened man, always with a good blunt answer: "You should have thought about this before!" is what he says to this man when he moans that his daughter has been caught by this delinquents. But then, he gets the victim out of trouble, from an environment that makes his real "nemesis" look less menacing.

Morricone's score doesn't disappoint, as usual. "Beautiful, elegant, tense, suffocating and full of melodrama" (written by Paul Werkmeister "miser42" on Amazon).

It's difficult not to compare this to the masterwork of the genre: THE PROFESSIONAL. While it remains at the top, this would make a great 2nd best, specially if you don't want to get emotional at the end.

Pierre Vernier makes a great if unusual (and thus, welcome) sidekick. Like Jordan, sometimes he doesn't need to utter a word to answer. Henry Silva is finely cast.

Enjoy!

Just as Jean-Paul Belmondo's THE PROFESSIONAL (1981) recalled the Charles Bronson 'loner' action vehicles, this one evokes memories of Clint Eastwood's "Dirty Harry" cop shows…which, by extension, connects it to the Italian poliziotteschi – of which the American co-star of THE OUTSIDER, Henry Silva, was a regular! Anyway, Belmondo is a maverick cop up against drug kingpin Silva: he intercepts a consignment of heroin (chasing the speedboat transporting it via helicopter), but the criminal's influence with city officials gets him transferred from Marseille to a low-life district! As was the case with the earlier film, the credits take care to establish the fact that the ageing star performed his own (often dangerous) stunts; in fact, every fifteen minutes or so, he's seen getting into a scuffle, a chase or a shoot-out – without necessarily advancing the main plot.

Still, in spite of the protagonist's superficial nonchalance, he's shown to have a heart: befriending a hooker, saving a convict's teenage daughter from life as a junkie, and paternally overseeing the 'legitimate' activity of a young small-time crook; when the latter opposes Silva's offer of 'protection' and winds up dead, the conflict between policeman and racketeer becomes a personal one. Mind you, the overall handling is anything but subtle – and blatantly commercial (why else would we be treated to the excess of sleaze on display, including an irrelevant excursion at a gay club?)! The film features another Ennio Morricone score which virtually hinges on a single catchy riff, though it's not quite as haunting as his work on THE PROFESSIONAL. The R2 DVD I rented also featured an Audio Commentary by director Deray which was, unfortunately, unsubtitled and enticing theatrical trailers for two other films Belmondo made for director Philippe De Broca, LE MAGNIFIQUE (1973) and L'INCORRIGIBLE (1975).

Belmondo is a tough cop. He goes after a big-time drug dealer (played by Henry Silva, normally a great villain - see "Sharky's Machine"; but here he is clearly dubbed, and because of that he lacks his usual charisma). He goes to the scuzziest places of Paris and Marseilles, asks for some names, beats up some people, gets the names, goes to more scuzzy places, asks for more names, beats up more people, etc. The whole movie is punch after punch after punch. It seems that the people who made it had no other ambition than to create the French equivalent of "Dirty Harry". Belmondo, who was 50 here, does perform some good stunts at the beginning; apart from those, "Le Marginal" is a violent, episodic, trite, shallow and forgettable cop movie. (*1/2)

The four star I have given to it is just because of the camerawork. That is (was) very good. However, even Ennio Morricone went way bellow of his standard with this one.

The script is so bad, full of holes, you wonder 'How did we get here?' Broad shoulders, balls dividing in tight jeans, and that famous grin after beating up criminals.

This is Belmondo at his lowest.

This is master-piece, one of the best movies I've ever seen. Belmondo is excellent, and Tcheky Karyo, of course. Music of Ennio Morricone is so beautiful that you can't describe it (it reminds me on music in movie "Frantic" by Polanski, where Morricone also made music). This one of the best detective movies, ever shoot in the world cinematography, of course with "The French Connection". You have to watch it.