La bonne année

I give this film a nine, for two reasons: 1. Sharp movie script, well delivered by the protagonists; and 2. Lino in his grave won't like this, but Francoise Fabian steals this movie from him with a truly compelling performance - as a socially and professionally sophisticated and sumptuously attractive woman who is a foil for all men, save Lino Ventura, who conveys at least as much personal chemistry in this film as a block of cement. I mean, when they are reunited following his six-year stint behind bars - he has nothing to say to her, when she is all choked-up with emotion! Ventura gives the expression "man of few words" a renaissance interpretation.

Ventura, frankly, was much better cast as the detective out to corral the jewel thieves, in "The Sicilian Clan," than he is here, as the reticent-personality jewel thief, and developing "love interest" of Francoise Fabian. She is so beguiling in this film, looking an ageless 30 instead of her 40 years of age at the time, one wonders if Lelouche might have considered her opposite Trintignant in "A Man And A Woman," some six years earlier? She deserved as least as much international recognition as many of her contemporaries of this time who outshined her, beginning with Claudia Cardinale, Elke Sommer, and Elsa Martinelli, none of whom could have carried this film to stellar heights, as did FF.

Lino Ventura shows here another of his talents, not necessarily the rough, tough virile man. He plays a gangster preparing a major jewellery store heist. A very brilliant and intelligent job. And besides this scheme, he falls in love with a woman who happens to work not far from his "target". Françoise Fabian is also at her best in this sensitive role; both her and Ventura are in a magic symphony, harmony, for the best pleasure of the audience. I have been surprised to get totally swallowed by this poignant crime flick. There was a remake in the eighties, with Peter Falk in Ventura's character, and directed by John Avildsen. Charles Gerard is also wonderful here, as Lino Ventura's sidekick.

Director Jacques Becker is credited with giving former wrestler Lino Ventura his break in films, for which we owe him a debt of thanks and here Ventura's co-star is Becker's widow Francoise Fabian.

Not only is this an expertly crafted 'heist' movie but also depicts an unlikely romance between polar opposites in the shape of a mucho macho, monogamous, uneducated crook and and an elegant, sexually liberated, cultured antique dealer. They are played to perfection by Ventura and Fabian whose chemistry is palpable. There are also humorous exchanges between Ventura and his loyal but rather dim-witted associate played by Charles Gérard.

Despite the customary pot pourri of styles employed by Claude Lelouch this is certainly one of his most accessible and entertaining films. It spans a period of seven years during most of which Ventura's character spends behind bars. There are flashbacks within flashbacks during one of which we are treated to scenes from this director's most popular film from the previous decade which could be seen as a comment on the changing social climate.

Pierre Uytterhoven has again collaborated on the script, Francis Lai once more provides the score whilst Lelouch himself operates the camera.

Lelouch has been unfairly labelled by many as a one-hit wonder which does him a great disservice and undervalues his creativity, imagination, technical skill and the freedom he gives his actors.

An homogenised Hollywood makeover with its obligatory 'feel good' factor came and went.

Claude Lelouch takes the ideas of present and past and turns them ingeniously on their heads. We see the history of the three main characters' involvement with each other in a humorous account involving the past and present. Some of this time-switching reminds me of the film to come, Tarrantino's Pulp Fiction, in its clever time-narrative.

The film works its way around crime, friendship and love in an artistic way, leaving you quite satisfied with the outcome.

As I say, just tonight I wondered to myself, if someone asked me what is my favourite film, it would be sooooo difficult, but whenever I think hard about films I've seen or even when I don't, for some reason, I always think of La Bonne Annee.

So I keyed it into IMDb right now.

I have absolutely no idea where I saw it or when, but it probably was in France in the 70s. And I've probably only seen it once, but I've never forgotten it.

I just thought it had everything about it that was good about French cinema or at least any cinema that wasn't Hollywood (and that's not a criticism of Hollywood, just a comment that French is different).

I haven't looked at the comments yet but I look forward to reading them, and in these days of being able to access, I really hope somehow to be able to see it again.

I sort of remember it was an older man involved. I was a young man when I saw it, and I'm an older man now, but I'm even more 'French' than I was then, having spent so much more time there, can speak the language pretty well, know all the best hotels in the south of France etc etc.

a la bonne annee! I'll come back with a comment if/when I get a copy.