Adieu l'ami

Alain Delon and Charles Bronson star as Dino Barran and Franz Propp, two French Foreign Legion veterans returned to Marseille after fighting in Algiers. Dino makes the acquaintance of a comely lass named Isabelle (Olga Georges-Picot), who entices him into a plan to return some stolen bearer bonds to a banks' vault. He will use his medical training as a cover, working as a doctor. But while hiding in the basement, waiting to make his move, he encounters Franz, who's there to rob the vault. The two men end up locked inside it, and while they wait for the building to open up again, they spend some time forming a friendship.

The idea is that the two unlikely friends develop a strong enough bond that neither one will be willing to rat the other one out, even after Franz is later apprehended and grilled by the police.

On the surface, this would seem to be a standard comic heist movie, but it's the initially antagonistic relationship between these mismatched characters that is the real heart and soul of the film. Delon had wanted to work with Bronson since seeing "Machine-Gun Kelly", and suggested him for the role of Franz. They have great chemistry, and are particularly funny in the early going when they keep trying to one-up each other. Offering fine support are lovely ladies Georges-Picot and Brigitte Fossey as bank employee Dominique, whom Dino turns to for help. Bernard Fresson is also great as determined police inspector Antoine Meloutis.

Although a little over-extended at just under two hours, "Farewell, Friend" offers up a fair amount of fun and humour, as well as a bit of suspense. (Franz is often attempting a trick of submerging as many coins as possible in a drink before it will overflow the cup / glass.). It also has a bit of action, and some memorable and delicious twists late in the game.

Delon is cool as always, and Bronson is just a joy: smiling, laughing, joking. If you're a fan of one or both of them, you'll have a pretty good time watching this one.

Seven out of 10.

A clever script from the late SEBASTIAN JAPRISOT and smart performances from the two male leads - ALAIN DELON and CHARLES BRONSON (or should it be the other way around) result in an engaging and entertaining thriller.

Add to the above the competent direction from veteran JEAN HERMAN and a sparse but effective score by FRANCOIS DE ROUBAIX, it becomes easy why this film has an odd timeless quality.

This is a buddy buddy or bonding story with two loners, both disillusioned and world weary, returning, presumably from Algiers. Like the other colonial powers of this time (post WW II leading into the 60s), France had struggled to keep up appearances overseas. Losing Algiers was a bitter blow.

ADIEU L'AMI (the original title) chronicles the actions of our two (anti) heroes as they struggle to make a go of it, after their discharge.

One thing happens after another, and the viewer really has to pay attention, because JAPRISOT is lean and economical with his script: if it is there, then there must be a reason.

Suffice to say, these two men battle it out, physically and psychologically, one long weekend. Their motivation is quite different, their goals are different - their survival depends entirely on each other. That ALAIN DELON and CHARLES BRONSON are outwardly so different - the former, arguably a pretty boy, and the latter an ugly thug, adds to the chemistry.

That quest makes for a great story, which in turn, makes for a great film.

Lest I forget there are women in this film, and true to the Japrisot method, they too are memorable, though not nearly as fleshed out; to say much more would be to spoil one's delight in discovering their true nature.

FAREWELL, FRIEND HAS BEEN RELEASED IN THE UK; AN ANAMORPHIC IMAGE, 16.9 ENHANCED; IN English ONLY (not even subtitles for the hard of hearing); A RUNNING TIME OF 110 MINUTES; MONO SOUNDTRACK but the DE ROUBAIX music has lots of punch!

Highly recommended.

Utterly tactical, strange (watch for the kinky moment of a drop-dead gorgeous blonde acting as pull-string doll for some rich folks), pointless but undoubtedly compelling late-night feature. This unhinged French production is a stew of perplexedly unfocused ideas and random plot illustrations centred on its very charismatic stars (if somewhat anti-heroes) Alain Delon and Charles Bronson. Really they don't get to do all that much, especially during the confined, lengthy mid-section where they hide themselves in a building during the Christmas break to crack a safe with 10,000 possible combinations. Oh fun! But this is when the odd, if intriguing relationship is formed between Delon and Bronson's characters. After a manipulative battle of wills (and childishly sly games against each other), the two come to an understanding that sees them honour each other's involvement and have a mutual respect. This would go on to play a further part in the twisty second half of the story with that undetectable curve-ball. Still their encounters early on suggest there's more, but what we get is vague and this is magnified by that 'What just happen there?' ending that might just make you jump. YEEEEAAAAAHHHHHHHHH! Glad to get that out of the system.

The pacing is terribly slow, but placidly measured for it and this seems purposely done to exhaust with its edgy, nervous underlining tension. Watch as the same process is repeated over and over again, and you know something is not quite right and the scheming eventually comes into play. Now everything that does happen feels too spontaneous, but the climax payoff is haunting. The taut, complex script is probably a little too crafty for its own good, but there are some neat novelties (Coins, glass and liquids… try not spilling) and visual symbolisms. Jean Herman's direction is efficiently sophisticated and low-key, but get a tad artificial and infuse an unwelcoming icy atmosphere. The sound FX features more as a potent note, than that of Francois DeRoubaix's funky score that's mainly kept under wrapped after its sizzling opening. Top drawers Delon (who's quite steely) and Bronson (a jovial turn) are solid, and work off each tremendously. Bernard Fresson chalks up the attitude as the Inspector who knows there's more going on than what is being led on. An attractive female cast features able support by Brigitte Fossey and Olga Georges-Picot.

A cryptically directionless, but polished crime drama maintained by its two leads and some bizarre inclusions.

It was a time when Charles Bronson was featured in French/European productions;for the record ,one can mention "Le Passager de la Pluie "(1969) by René Clément,"De la Part des Copains " (1970)by Terence Young and the curious "Quelqu'un Derrière la Porte" (1971)where he teamed up with Anthony Perkins .

"Adieu L'Ami" is arguably best of Bronson's adventures in France ,and best of Jean Herman's small filmography .It's his only success in France "Jeff" feat Delon again being looked upon as a failure. In "Adieu L'Ami" ,Bronson replaces ,in a certain manner,Lino Ventura. The plot is suspenseful in the grand tradition of Boileau-Narcejac's frame-ups .It's one of the rare Sebastien Japrisot's scripts which does not fall apart after the second reel.The scenes in the corridor climax the movie.What a night!

A note about the cast:

Olga-Georges Picot ,after several conventional parts,sank into porno films and prematurely died.

Brigitte Fossey,whose performance in Clement's "Jeux Interdits" (1952:she was five then)was praised to the skies around the world,came back to making movies in 1967 ("Le Grand Meaulnes").It was the second effort of her second career.She is still acting .

Although Bernard Fresson (who recently died)had begun his career with Resnais ("Hiroshima Mon Amour" ,1959) it took him ten years to draw the French audience's attention : his part of a cop was hailed by the critics.

An engaging psychological thriller, it's got some fights, girls, guns, muscles and chase scenes, but that's not the point. Ultimately, this film is about friendship and honor. It's a guys' flick, although girls too will be rewarded with Alain Delon's divine mug in plenty a closeup. It is probably Charles Bronson's finest performance ever, and one of Delon's best films. Made entirely in English, this is a good chance for an American viewer to appreciate French thrillers. While trying to imitate Hollywood first, they ended up being much better than the original. This movie will probably not change you as a person, but it will resonate with you.