Attention bandits!

And therefore, says Jean Yann's character, they can't make gangster flicks anymore. Except that Claude Lelouch can, in his own, slow, deliberate, quirky way. He introduces you to the principals over the course of ten years and punctuates the movie with all the set pieces except for the big robbery: that happens before the start of the picture and sets off the entire course of events, including a double murder, a lesson on the ethnology of Brazil, betrayal, an exclusive girl's school in Switzerland, the funniest prison escape in the history of the movies -- be sure to read the stickers -- and, of course, an equestrian competition. An amazing mix of genres that keeps moving right along.

The director of 'A Man and a Woman' turns his attention toward the two passions closest to a Frenchman's heart (love and larceny) in a film that, in memory of his earlier hit, might have been called 'A Father and a Daughter'. The former is a dedicated family man and discriminating high class thief who loves his wife and daughter as much as his work; the latter is an adoring young woman who can't accept her father's vocation after he risks their security in a plot to avenge the death of his wife. The film marks yet another Old World spin on American B-movie conventions, in this instance more polished (and certainly more fluffy) than its nouvelle-vague prototypes, but with a surplus of Gallic whimsy and fatalism to recommend it. It's not quite a caper, not quite a character study, and not quite a combination of the two; by now, with 27 films to his credit, Claude Lelouch is merely coasting.

That will probably be the only film directed by Claude Lelouch that I will comment. I don't hate this film maker, he has a way of give us portraits of characters which are unparalleled. Concerning this one, I would say that the first part is outstanding, poignant, with a top performance by Jean Yanne at his peak. The hoodlum seeking revenger against the men who killed his wife. The same gangster who is in jail and who writes to his daughter. Gripping sequences and a music score by Francis Lai which reminds me the one I heard in L'ARMEE DES OMBRES. Speaking of that, lots of things in this first part remind me Jean-Pierre Melville's atmosphere. Lots of things. But unfortunately the second half is a total mess. I won't say much more offensive about it, but I prefer forget the whole thing.

Such a shame for such a waste.

But I was very happy to hear in the film theme the only song from the great Jean Gabin.