Ultimo domicilio conosciuto

Classic French Polar film with two greatest stars of the seventies : homely , craggy-looking mug Lino Ventura and attractive Marlene Jovert . Rude police inspector Léonetti (brutish, burly-framed presence Lino Ventura) , a two-fisted , violent cop detains a son of powerful lawyer and this one seeks vengeance . As soon as chief inspector to be aware , Leonetti has been sent to a suburban district after being reprimanded . Leonetti is angry to be moved a second-rate police station but he is assigned to form a peculiar team . There he meets young and beautiful Jeanne Dumas (Marlene Jovert) who is given as his colleague . Both of whom join forces to catch small-time delinquents . Later on , the duo formed by the efficient policeman and the rookie cop are soon assigned a very difficult assignment : to find a missing witness whose evidence is instrumental in convicting a killer called Soramon (Heron) . They start searching throughout Paris , asking neighbours , finding several tracks and red herrings . Meanwhile , they are pursued by a mysterious gangster called Greg (Michael Constantin) .

This is a suspense ¨Polar¨ or French Noir film in which intrigue and thriller is continuous . From the beginning to the end it turns out to suspenseful , including well developing of interesting characters , and for that reason is entertaining . The movie has great loads of emotion , dark-edged drama , tension and intriguing events . Exciting and thought-provoking screenplay by the same Jose Giovanni , based on the novel titled ¨Dernier Domicile Connu¨ written by Joseph Harrington . Studio-character about unsettling characters damned to inevitable tragedies , powerful finale , stylized set pieces heightens the suspense and tension have place in all Jose Giovanni's film-making . One of his favourite actors was Lino Ventura , whom Jose directed many times . Actors' interpretation is excellent , as Lino Ventura , as Marlene Jobert . Ventura as a serious as well as tough cop with dark past is magnificent . Lino was a big French star and ex-boxer , looking for gangster types for his next film , director Jacques Becker gave the inexperienced 34-year-old his first acting job as bad guy support to star Jean Gabin in the crime thriller ¨Hand off the loot¨ (1954) . Lino went on to appear with Gabin in several of the star's subsequent movies , often playing a gangster , including "Crime and Punishment" , ¨Speaking of Murder¨ and ¨Maigret¨. Lino came into his own as a tough-nut character star in the 1960s playing both sides of the moral fence , as policeman or mobster . Lino appeared in scores of films now considered classic French cinema . His peculiar aspect took the form of various criminals types as in ¨Second Breath¨ (1966) and ¨Happy New Year¨ (1973) as well as dogged , good-guy inspectors in ¨The incorruptible¨ (1975) or ¨The French Detective¨ , ¨Illustrious Corpses¨ (1976), and ¨The Grilling¨ . He played other unforgettable films , such as ¨The Three penny Opera¨ , ¨Modigliani¨, ¨The adventurers¨ , The slap¨, ¨Jailbird's vacation¨ , ¨The army of shadows¨ , ¨Witness in the City¨ and ¨Joe Valachi's papers¨ . Support cast is pretty good , as Paul Crauchet , Michael Constantine and uncredited Serge Marquand .

Evocative and atmospheric cinematography by Etienne Becker is simply riveting . Special mention for musical score by François De Roubaix , it's sensitive and agreeable , including a feeling leitmotif . The motion picture was well produced by Jacques Bar and compellingly written/directed by Jose Giovanni , making a memorable work , though sometimes results to be slow-moving . Giovanni participated in the French Resistance during World War II . Worked as a lumberjack , diver , mountain guide and coal miner . Jose wrote 20 novels, 2 memories' books , 33 scripts , and directed 15 movies and 5 TV movies . His novel, "Le Trou," ("The hole", slang for prison) , which became a classic film , was based on his own escape attempt from a Paris prison . Director Jacques Becker bought the rights of the book and directed it in 1959 , considered to be the best prison movie . That's how José Giovanni entered the cinema world . He became a well-known dialoguist , scenarist too, working many times with Jacques Becker . Then he directed his first movie in 1966 , "La Loi Des Survivants" , while he was still writing novels about gangsters , cops , prison and manly friendship . He was a purveyor of a certain kind of noir movie , creating his own company and a tiny studio . Some of his films , many are based from his own novels , include Le Rapace (1968), La Scoumoune (1972) , The gypsy (1975) , Boomerang (1976) , and Le Ruffian (1983). Giovanni directed some great French actors as Alain Delon , Jean Gabin , Jean-Paul Belmondo , and , of course , Lino Ventura .

In a nutshell, I'd call this police drama 'pretty good'. But not nearly as excellent as some reviewers have made it out to be. On the plus side are the standout performances of tough cop Lino Ventura and his rookie assistant, the enchanting Marlène Jobert.

In the early 1970s Jobert was probably France's most in-demand actress, so lovely and so endearing that it was hard not to fall in love with her. I succombed immediately on seeing her irresistible performance in René Clément's classic Rider on the Rain, where she is perfectly paired with the redoubtable Charles Bronson.

Also on the plus side are many gorgeous glimpses of Paris, by day and by night. On the minus side though, is the contrived drama of the movie. Like many French police films of the period, it tries too hard to be more than a police story. It strives to be a meaningful essay on modern society, morality and lost illusions.

Still, it's pretty good, and if you're a fan of directors like Sidney Lumet, Arthur Penn and Elia Kazan, you'll probably find a great deal to like in Dernier domicile connu.

But if your taste runs more toward Alfred Hitchcock and Fritz Lang, you can skip this one and go directly to Rider on the Rain.

Lino Ventura is simply perfect as this noir hero, too professional to rebel against the absurdity of his job. But why would they have him wear a small hat? The big broad-shouldered, former pro wrestler, Lino Ventura in brown-over-black 1970 style (remember Shaft?), OK, but who wears a hat in 1970? It makes him look like Inspector Clouseau. In the book Francis X. Kerrigan wears a dust jacket, OK this is the overused private coat, but keep it simple, in tune and in genre.

Fortunately the story is good, it's a sharp and clean police procedural and it shows that José Giovanni loved it. He loved that it displayed a stubborn officer walking his beat in the midst of general hostility against police. It was really fashionable to criticise the police around 1969 and Giovanni is happy to drive the point home more than once, most prominently in Paul Crauchet's monologue, but generally in the absurdity of Lino Ventura's assignments. Subtlety is definitely not Giovanni's forte but here it blends well with the simple police procedural.

All in all this could have been a tremendous modern noir with a better director (Melville, Sautet). The result doesn't show important directorial choices. Camera work and editing are average, and sound editing is poor while François de Roubaix's score would have been sufficient to carry most of the images. In the end you will feel as if the movie simply vanishes from your memory while you were really rooting for Ventura and Joubert minutes before.

First of all, this is the first time I have watched a Lino Venture movie, so seeing it with new eyes has perhaps conferred it a special shine. But it is truly a very beautiful movie shot in a 1960s Paris in which only the cars have changed over the years. But the beauty also applies to the cast of actors and to their sensitive acting.

Lino Ventura is the fallen cop who doesn't bare a grudge and is dedicated as ever to his job, landing him into a painful fist fight with some thugs, and dealing chivalrously with his bright-eyed assistant Marlène Jobert who truly delivers as a newcomer to the job of crime fighting, aptly portraying both excitement and disillusion. The supporting cast, good and evil, deliver very well and accurately depict Paris' diversity (often through gritty character depictions and photography) 40 years back.

The plot flows well, sometimes interspersed with dream sequences which are beautifully rendered. Never cheesy (like so many movies of the time), well paced and acted, truly a great cop movie which has aged very gracefully.

Inspector Marceau Leonetti (Lino Ventura) gets demoted after arresting a young kid whose father has connections. He is assigned to a small town where the biggest crime is helping a kid locate his stolen pigeons and, later, working alongside newbie Jeanne Dumas (Marlène Jobert) to bust perverts in movie theaters. Their careers take an upswing when, unbeknown to Leonetti, his former boss assigns him the futile task of finding a witness in 8 days before a major murder trial. What his superiors didn't count on was Leonetti's tenacity in finding this uncooperative witness and the fact that the accused also has some men out with the same task. This is the third film from director José Giovanni (writer of THE SICILIAN CLAN) and it proves to be a pretty grim affair. There is a lot of commentary on the rat (or should I say ant) race as Leonetti is just a cog in the wheel of justice (at one point Jeanne event comments on his unending searching, asking if he is a robot). Audiences will probably feel the most connection with Jobert's character as she is tackling the assignment with a fresh belief in "the system." Ventura is awesome in the lead role of the seen-it-all vet and he has a great fight scene toward the end. You'll probably see the end coming, but it still has quite an impact thanks to a matter-of-fact presentation by Giovanni.