Le voleur

This movie takes a dive into the world of thieves of western Europe shortly before World War One.

The costume work and, generally, the work done to make this period piece as close to reality as possible, is highly laudable. This is probably what I liked most about this particular movie.

The cinematography helps capture this marvelously. The remastered version I saw was really something. Perfect for a cinephile!

The plot is well-done, as it explains the motivations and features of Belmondo and his gang.

The additional political element of the movie is though-provoking.

The potential incest plotline, though, left me negatively confused.

... and those gorgeous eyes to look at. The film would be a lot better if it were 30 minutes shorter, and if Malle didn't lovingly photograph those rich interiors, that gorgeous furniture that Belmondo treats so brutally with his burglar tools. Jacques Saulnier did the production design, and this is a really handsome film to watch. It is a precursor to Stavisky..., the Resnais film that Belmondo starred in some years later, another Saulnier production. The solitary nature of the crimes Randal commits does not allow the idea of a confederation of criminals against the bourgeoisie to develop--this is one of the themes of the script that fails to work.

The acting is always good. Guiomar as the crooked priest is always effective; you may remember him longer than you do Belmondo. Paul Le Person as a thief has some good scenes, as does Jacques Debary as the politician Randal robs while he's making a speech. The best scene for me was the Guiomar-Marie Dubois encounter, when she recounts a bogus story to the feigned surprise of the priest.

Louis Malle was one of the greatest French directors, along with Resnais and Chabrol, yet he didn't always make the films that his talent should have let him do. Le Voleur is just too ripe, too pretty, too focused on surfaces to work for me.

In Paris circa 1900, rakish Georges Randal (Jean Paul Belmondo) is brought up by his rich and egoistic uncle , who robs his inheritance . Georges hopes to marry his cousin Charlotte (Geneviève Bujold) , but his uncle manages himself for her to marry a wealthy neighbour. As an act of vengeance, Georges steals the family jewels. Subsequently , he becomes an expert thief , enjoying the experience so much that he join forces with another swindler , a cunning priest : abbé Félix La Margelle (Julien Guiomar) . He unites other fellow thieves and all of them robbing the bourgeois people and making off with their women . While he meets and falls in love for a great number of beautiful girls : Geneviève Bujold ,Marie Dubois , Françoise Fabian , Marlène Jobert , Bernadette Lafont . The light touch of the masters! Malle makes ... Belmondo takes.

This was a decent and brilliant Louis Malle film, but neither extraordinary , nor notable , but an acceptable and passable picture . Set in the turn of the century , being a very well designed period piece which is filled with subtle characterizations , intrigue , drama , action , and brief bits of humor and irony . These elements are efficiently and compellingly blended by Luis Malle , a director during the¨Nouvelle Vague, New Wave" of 1950s and 1960s , though technically not considered a Nouvelle Vague auteur . Including a splendid protagonist , Belmondo , who along the way gets flirty with a great deal of wonderful and popular French actresses . Cast is frankly well as Jean Paul Belmondo who gives a sympathetic and enjoyable acting , as usual , as a spoiled young who embarks upon a life-time of burglary . Belmondo was at the peak of his international fame , by the time he played his best titles as Pierrot le Fou , Weekend at Dunkirk , Tender Scoundrel , Chinese Adventures in China , Oh ¡ , Backfire, Mississippi Mermaid , among others . Support cast is pretty good , such as : Marie Dubois , Françoise Fabian , Bernadette Lafont , Marlene Jobert and brief appeaarances and cameos from Charles Denner , Anne Vernon , Jean-Luc Bideau and Louis Malle himself as a figurant .

The film displays an engrossing and adequate cinematography by prestigious camera operator Henry Decae . As well as an evocative and atmospheric musical score .The motion picture was professionally directed by Louis Malle , but in fits and starts . Malle is considered to be one of the best French filmmakers . His résumé showed that he had worked as an assistant to filmmaker Robert Bresson when Malle was hired by underwater explorer Jacques-Yves Cousteau to be a photographer on the Calypso. Cousteau soon promoted him to be co-director of "The Silent World"(1956) . Years later, Cousteau called Malle the best underwater cameraman he ever had . His first film was the intriguing story ¨Lift to the Scaffold¨(58) . Malle's second film, ¨Les amants ¨or "The Lovers"(1958) , starring Jeanne Moreau broke taboos against on screen eroticism. In 1968 the U.S. Supreme Court reversed the obscenity conviction of an Ohio theater that had exhibited "Les Amants." He also made films on the other side of the Atlantic, starting with Pretty Baby (1978), the film that made Brooke Shields an international superstar. The actress who played a supporting role in that film was given a starring role in Malle's next American film, Atlantic City (1980) , that promising actress was Susan Sarandon. In one of his later French films, Au revoir les enfants (1987), Malle was able to find catharsis for an experience that had haunted him since the German occupation of France in World War II. At age 12, he was sent to a Catholic boarding school near Paris that was a refuge for several Jewish students, one of them was Malle's rival for academic honors and his friend . After that , he made ¨Milou en mai¨and ¨Damage¨ with two international actors Jeremy Irons and Juliette Binoche .In his final film, Vania in 42 Street (1994), Malle again penetrated the veil between life and art as theater people rehearse Anton Chekhov's "Uncle Vanya." In that film, Malle worked again with theater director Andre Gregory and actor-playwright Wallace Shawn . Malle was married to Candice Bergen, and he succumbed to lymphoma in 1995. Rating : 6/10 . Well worth seeing .

This is a great satire of fin de siecle European society, but satire is not always funny. In fact, this is a tragedy along classic Greek lines, something which only becomes apparent in the final scenes, which give the lie to those critics who accuse Malle of being too sympathetic to his protagonist(s). Some criticize Belmondo's rather flat affect, but I believe that this is intentional, and an essential element of the tragedy. The film is widely recognized as satitirizing the bourgeoisie, but many miss the way it also satirizes the would-be Marxism of some of the protagonists. It is beautifully filmed, with a beautiful, all-star cast. By modern standards, it is a slow film, without much excitement, but it is worth watching, if you have the patience to watch it all the way to the end.

I finally got around to watching a tape of this movie I'd made awhile back, and frankly, I was very disappointed. Jean-Paul Belmondo at the peak of his international fame, Louis Malle ("Atlantic City") directing - how could it go wrong? But regardless, this is just a simple comedy without much depth.

Belmondo plays a French thief around the turn of the century, and the joke is that he and his fellow thieves are robbing the bourgeois and making off with their women. No new ground is broken, and to be honest, even with this simple plot, it isn't particularly well-executed.

Even fans of Belmondo might be bored with this film - instead of his usual droll demeanor, he's dull and just floats from one scene to another without making much of an impact.

So-so entertainment, that's all.