Max et les ferrailleurs

I went to see this movie today in NEW YORK is going to be show for one week only and for the first time is show in USA, the movie is very good with a great end but what make this movie good is ROMY SCHNEIDER 1938-1982 when she came out in the screen ,she play a prostitute named lily, the question i ask myself was how come somebody can be so beautiful so perfect i have not word to described this woman and beside her talent she was so good in her part i love this movie, ROMY IN REAL LIFE WAS NEVER HAPPY SHE HAVE A5 YEARS LOVE AFFAIR WITH ALAIN DELON AND AFTER THAT SHE MARRIED THE FATHER OF HER LATE SON David EVENTUALLY SHE DIVORCED HIM AND MARRIED DANIEL BIASINI THE FATHER OF HER DAUGHTER SARAH

A beautiful crafted story of manipulation and love. A cold revenge of former judge and a terrible confrontation crowning the end. And great cast. A pure inspired story , a large gallery of nuances, precise work of Michel Piccoli and, sure, the seductive Romy Scheider, A precious François Périer as a sort of revenger , prepairing his moment.

A beautiful fresco of a lost time, in same measure, the expected policier suggesting a serious dose of nostalgia and fair structure of machiavelism , in inspired way, giving to viewer, in nice way, clues and doubts about final.

So, a hold up in which the contribution of a cop is decisive, a story of love , in silence but more powerful than you suppose and a wise final.

Excellent crime drama, beautifully underplayed by Michel Piccoli and Romy Schneider. Good story with a beginning, a middle and a surprise ending. You'll think about this film for days afterwards and want to see it again. If you love movies, you'll love this one. It will make you want to see more of Claude Sautet's work. [I have not as yet].

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.

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.