A classical partition in the best sense of the word, a movie haunted by disillusion. Each character is assigned a single aim to achieve before completing their destiny and dying.

The plot is so contrived and relies on so many things happening in such a perfect way that I started to wonder if this film was a parody of heist films. I think Melville was more concerned with character (which are great) than actually developing a story. I need both to fully enjoy something and while this could've been something really special, it's too safe and not interesting enough story wise to really be anything meaningful. Loved all the actors but damn the script is weak.

25 subat 11, peramuzesi & film, silahlar, hirsizlar, polisler hakkinda bir film degil. iyilik ve kotuluk hakkinda.. karakterlerine 'kimse iyi degildir' dedirtirken, film 'kimse kotu de degildir' diyor. Filmde kotu kimse yok. Hirsiz da, polis de, muhbir de kotu degil, kendine gore gerceklere sahip karakterler. yonetmen kimsenin tarafini tutmadan objektif bir sekilde hikayeyi kurmus. neticesinde basarili, titiz insaa edilmis bir film olmus.- iyi insan yoktur, kotu insan da yoktur. insan vardir.

Le Cercle Rouge's glacial pace detracts from its excellent heist and well developed characters. While many of the more ponderous scenes establish character and motive they also interrupt the narrative and dampen the film's tension. The subtle sympathy that Bourveil's Commissaire Mattei displays toward Volonte's Vogel is intriguing, but the films tone is hollow, and its characters do not engender a particularly strong emotional connection, which significantly reduces the impact of their demise.

More than an ordinary heist movie. Just a bit too long.

The second Melville crime film that I've seen - I didn't like it as much as "Le Samourai" but it's still an amazing film. Alain Delon once again plays the cool cat and goes after one big heist, using a former police officer and an escaped convict as accomplices. Beautifully shot and expertly acted, it's a testament to New Wave cinema. I'm left with one thought - why can't we dress like that all the time?

Fairly cool old French heist flick. It draws influence from a lot of films before it, but keeps its own fairly unique drab, dark atmosphere. It adds nothing else to the table, but it's well developed and keeps interest throughout. The heist scene itself was memorable, very surreal in all its silence and did not have panic and movement like we've come to suspect from Hollywood... almost perfect really.

For the first 45 minutes, I thought this was going to be amazing. Then something strange happened: I realized I was watching just another heist movie, and not a particularly great one at that. Delon is awesome, of course (see: the pool table scene), and I loved both Le Samourai and Army of Shadows (the latter being one of my all-time favorite films), but this just didn't really work for me.

Oh, HELL yeah! Archetypical Melville flick, in the best possible way. Cool, completely assured and laden with low-key badassery. Takes its time to get going, because who the fuck is anyone that isn't Melville to tell Melville to speed things up? That's right: Not Melville, and they can therefore suck it. Suck it down. Right now. You. Yes, you. Do it.

Great movie with impressive actors, especially Alain Delon and Bourvil, in his last role (by order of release).

Melville's tropes keep you interested in what could be for the most part a pretty pedestrian heist movie.

92.000

#813

Of all the serious, straight-ahead heist movies that I've watched, this my second favorite (surpassed only by The Sicilian Clan). Not because it is more extravagant or less conventional in any way, but because Jean-Pierre Melville just really knew what he was doing at this stage. The cinematography is luscious, the editing rhythmic, the cast bursting with charm, the text minimalistic but excellent, and it all combines into something riveting and engrossing.

a little too minimalist for my tastes. there are some standout moments of suspense and some great photography, but the story was a simple point told long.

It's a Melville heist movie, which is kind of everything you need to know. To be completely honest, I had forgotten that this was a heist movie until like an hour and a half into it. I hate the phrase "neo-Noir," so I won't use it. But Le Cercle Rouge certainly exists outside of any recognizable genre. I didn't know what was going to happen next on a scene by scene basis, which is a huge strength of the film. Small scenes take on epic stature based solely upon the unpredictability of the world.

There's a lot of things that happened in this movie that didn't make much sense. Especially character motivations during the entire last 10 minutes. Great directing, cinematography and acting, but I hope your suspension of disbelief is stronger than mine as far as the writing is concerned.

Similar in many ways to Le Samourai, but this feels more developed and full of more perspectives, while retaining the cool style of Samourai.

Good film.

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