Armaguedon

an idealist ordinary man. and his desire to transform the other's perspective about life. a lucid psychologist who looking solve a case. result - a film who could seems boring at the first sigh. because it is not a crime but it has each ingredients of one. it is not a political film against the elements who defines in this sense. it is only a sort of cry of a man who has the hope/faith to do the expected revolution . a Don Quixote in new clothes. inspired portrait of contemporary society, it is the film who remind and not present. the duel between Delon and Yanne is , scene by scene, build in the precise manner. one of films who could be useful when the challenges of everyday becomes more bitter. because the chance to discover yourself in the gestures of Carrier or Ambrose, sides of same coin, is the great virtue of the film.

Louis Carrier gets a large payout from his brother's life insurance. He quits his workman job and promises to do something memorable. He is about to shoot the Prime Minister, but somehow he ends up greeting him with a handshake. He goes down the rabbit hole. With his idiot sidekick Einstein and the nom de guerre Armaguedon, he starts causing chaos with his random acts of terror and brutal murders. Dr. Michel Ambrose (Alain Delon) helps the police by profiling the unknown suspect.

This is an odd surreal crime drama. I would call it a thriller if it's actually thrilling. It's not and that's not the point. It's a study in nihilism. Quite frankly, it may not have made sense back in the day. This is a guy looking for infamy, looking for the clicks. He's every insel who shoots up a school to make himself a name. He's that guy who shot up a concert in Las Vegas a few years ago. He's not doing it for an actual cause. His cause is nothing but a word salad. It's infamy that he's looking for.

I have always compared Alain Jessua's filmography with Serge Leroy's one; interesting topics which analysed very brilliantly and in the best intelligent way the problems of the modern world, or human nature. And they often used the thriller pretext to do this. Check every of their films, for both of them and you'll have confirmation of what I say. For Leroy, LA TRAQUE, ATTENTION LES ENFANTS REGARDENT or LEGITIME VIOLENCE, LE QUATRIEME POUVOIR; for Jessua, ARMAGUEDON, TRITEMENT DE CHOC, LES CHIENS; all topics about social issues and human behavior. The adaptation from the David Lippincott's novel is rather faithful and that remains a very good French yarn. Yanne is exquisite in this ambivalent character. The relationship between his character and Renato Salvatori's one is very touching, so unusual, which reminds me OF MICE AND MEN, between George and Lenny.

This movie is slow, boring and predictable. Apparently it was initially created for unpretentious and stupid audience.

At every turn of the plot you wonder how could the criminal be so dumb to leave such a trail of damning evidence behind and how the police can be even dumber not figuring it out.

I never saw Alain Delone being so bored in any of his many movies. Probably he understood that he's taking part in creating a real cinematographic dreck.

The movie is worth seeing because it stars Alain Delon (a psychologist who collaborates with police) and Jean Yanne, a psychopathic criminal with terrorist aspirations.

Maybe the film is more interesting today than in 1977, because now we live in a period in which terrorist threat is global. In a certain way "Armaguedon" is 25 years ahead of its time.

Unfortunately, although still watchable, the movie lacks a real confrontation between the two main actors, and that's a pity -because thriller is one of the genres French filmmakers are excellent in. In the film Delon and Yanne never meet really... It's a script mistake, which director Alain Jessua admits.

There's some action, but the film is more psychological than physical -it's not like many banal Hollywood action movies. But it's not a memorable movie, the final part goes too fast -it spoils the tension settled so far.