Asfalto che scotta

In Milan, the gangster Abel Davos (Lino Ventura) is sentenced to death "In absentia" and decides to return to France. Abel is a family man with wife Thérèse Davos (Simone France) and two sons, and his partner Raymond Naldi (Stan Krol) helps Abel and his family to flee to Nice. However Thérèse and Raymond are killed by the police and Abel uses his former friends in Paris to help him to go to Paris with his sons. They hire the driver Eric Stark (Jean-Paul Belmondo) to bring Abel and his kids to Paris in an ambulance. Along their journey, Eric helps the aspirant actress Liliane (Sandra Milo) on the road and she also goes to Paris in the ambulance. But soon Abel learns that he is alone and his friends when he was powerful will not help him and he counts only with the support of Eric. What will happen to him?

"Classe tous risques" is a great film-noir with the story of the last days of a gangster. The plot shows that there is no code of honor or friendship after the fall of a powerful gangster. All his former friends do not help him when he needs. The conclusion is adequate for the whole situation. My vote is eight.

Title (Brazil):"Como Fera Encurralada" ("Like Trapped Beast")

Odd one should be able to stumble into "Classe Tous Risques" only by chance; it should be on any "best of film-noir" list, including IMDb's.

Lino Ventura is as good as ever; knowing of his dire, delicate family situation gives extra weight to his almost expressionless face and brief dialogues. Belmondo's restrained performance under Sautet's firm direction only shows what a wonderful actor he could - and should -have been.

"Classe Tous Risques" is utterly mininal, dry and cold, without Melville's artistic scenery, pretty faces and fancy cars. It is almost film-noir meet neo-realism. Davos' few, hard words to his children describing their life of secrecy from there on get a hold on your throat to the end of the film.

The final sentence of the film - a voice-over telling of Davos' end in no more than ten dry, sombre words - leaves you with a hard punch in the stomach.

A true jewel in the great crown of French film-noir.

A discovery. Made in 1960, at the peak of the French New Wave, 'Classe Tous Risques' is a classic gangsters movie, directed by Claude Sautet, the screen adaptation of a novel by José Giovanni. Like many other filmmakers who began their careers during the New French Wave, Sautet and Giovanni, even though they did not belong to the current, became known both as directors and screenwriters of many films of this genre, a genre which a few years later will draw the attention of some of the most famous directors of the New Wave such as Melville or Chabrol. The film brings together on the same screen two of the actors specializing in tough guys roles in French films noir. Lino Ventura was already a well-known actor, while Jean-Paul Belmondo was building up his fame and full of creative hunger. In that year 1960 his name appeared on the credits of no less than eight films. The presence of Ventura and Belmondo, who on the screen as in reality played the roles of master and disciple is just one of the arguments that make 'Classe Tous Risques' a film worth seeing 60 years after its premiere.

Many films had already been made about the 'code of honor' of the underworld, and more would follow. Let's put aside the moral judgments about the 'honor' of those who rob, kill each other or kill innocent people in cold blood, but otherwise they are good familist and people capable of falling in love. Let's admit that the theme is an excellent starting point or core subject for thriller novels and films noir. This is also the case with the story of gangster Abel Davos (Lino Ventura), sentenced to death and pursued by all police of Europe, whose wife is killed when they try to return to France, who is betrayed by his old friends in crime and thus left to fight for survival with his two 8- and 4-year-old boys in her care. The help comes from Eric Stark (Jean-Paul Belmondo), a young gangster in the making, for whom Davos was kind of a moral model, precisely because of his respect for the mob codes of honor. The connection between the two (friendship, master - disciple) is the axis of the film.

Lino Ventura acts wonderfully in a type of role in which he specialized in those years, the tough guy followed by everyone who carries a gun, and whose chances of surviving until 'Fin' appears on the screen are low. He is however surpassed, I believe, in this film by Jean-Paul Belmondo, who manages to give a positive touch to his role, with the help of Sandra Milo as the young actress with whom Eric begins a relationship that may be his chance not to repeat the fate of Abel . The filming has rhythm and fluency, the characters are believable and the action flows interestingly until the final part, which confronts us with a less common ending for films of this genre, perhaps inspired by docu-novels that were also in vogue in those years. It's worth, I think, to see the movie and get to the end to judge by yourselves.

"Classes tous risques" is one of the best "gangsters" films noirs France has ever produced.Perfect cast :Lino Ventura,a young Jean -Paul Belmondo (who made "a bout de souffle",Godard's thing, the same year),Marcel Dalio and a fine supporting cast ;brilliant script by José Giovanni -who also wrote "le trou" Becker's masterpièce the same year!What a year for him!;wonderful black and white cinematography by Ghislain Cloquet.And taut action,first-class directing by Claude Sautet,who surpasses Jean-Pierre Melville .Whereas the latter films gangsters movie with metaphysical pretensions,which sometimes lasts more than two hours,Claude Sautet directs men of flesh and blood,and the presence of the two children adds moments of extraordinary poignancy which Melville has never been able to generate .And Sautet avoids pathos,excessive sentimentality:the last time Ventura sees his children,coming down in the metro (subway)is a peak of restrained emotion.

Ventura portrays a gangster whose die is cast when the movie begins.He thinks that he can rely on his former acquaintances ,but they are all cowards -we are far from manly friendship dear to Jacques Becker ("touchez pas au grisbi" ) which Melville was to continue throughout the sixties-sometimes abetted by mean women (the film noir misogyny par excellence),living in a rotten microcosm,ready to inform on -we are far from Jean Seberg's simplistic behavior in Godard's "opus"-.

Cloquet works wonders with the picture:the scene on the beach in a starless night when the two children see their mother die after the shoot-out with the customs officers is absolutely mind-boggling.

There's a good use of voice-over,which Sautet only uses when necessary;thus ,the last lines make the ending even stronger than if we have attended the scenes.

Claude Sautet had found a good niche ,and he followed the "classes tous risques" rules quite well with his follow-up "l'arme à gauche" (1965) which featured Ventura again and made a good use of a desert island and a ship.Had he continued in that vein,France would have had a Howard Hawks.In his subsequent works ,only "Max et les ferrailleurs " (1971) showed something of the brilliance he displayed in the first half of the sixties.He had become ,from "les choses de la vie" onwards,the cinema de qualité director who used to focus on tender-hearted bourgeois in such works as "Cesar et Rosalie" (1972),"Vincent François ,Paul et les autres" (1974) or "Mado" (1976)

The film Classe tous risques directed by Claude Sautet was not a film, to be honest, I had ever really heard of until the Film Forum in NYC said that they would have a 2-week screening of the film, with new English subtitles. When I also read that it was in the vein of the classic French crime films ala Jean Pierre Melville, I jumped at the chance to check it out (at best it would rank up with his great works, and at worst I would get some good popcorn in a great theater). It was well worth the admission, as Classe tous risques is one of those kinds of French films that is just waiting to be re-discovered (or discovered for the first time). With terrific, tense diligence, Sautet keeps the suspense at a tight pitch for the first forty minutes of the film, keeping a good (if not great) middle section, and then ending it up with what is always expected with these films, but with fascinating motivations by way of the characters. With a film in the vein of this sort, you know how it will end, but it's the cool, observant journey that counts.

The film features a performance with some real truth and honesty, amid the "old-school" criminal's code, by Lino Ventura as Aldo, who at the start of the film (one of the best beginnings to a film in this genre and country) steals a hefty amount of money with his partner in crime). When there is a sudden, ugly twist of fate on a beach late one night, Aldo is again on the run with two little kids. He gets the aid of Eric Stark (Jean-Paul Belmondo, a role in tune with Le Doulos only with a smidgen more humanity and charisma), who is also a thief and drives him into Paris. But there are some problems with some of Aldo's old business partner's, and one old score may be just the right ticket. A couple of times the plot may seem to be leisurely, but it isn't. Like Melville, Sautet doesn't allow any fat to his story, and it's a very tightly structured film, with some good doses of humor here and there (I was sometimes grinning at the audacity of the criminals in the beginning chase sequence, and also with a particular woman who had a finicky thing with her cat and a fish).

Along with a fine score by the great George Delerue, exceptional cinematography, and a mood that is seldom met let alone matched now adays, Classe tous risques is a reminder of that bridge between the real old-school film-noir, and the latter day crime films. Gangsters in these new sort of "thug-life" movies have a 1000th of the class and honor of the thieves in this film, and is a second banana to the works of Melville and Jules Dassin (a compliment I assure you). That it has a good realistic, moral edge helps as well.