A Cop (Un Flic)


A Cop (Un Flic)

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Total Count: 18


Audience Score

User Ratings: 1,875
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Movie Info

Edouard Coleman (Alain Delon) spends his days and nights chasing criminals, but doesn't see the crook right under his nose. Simon (Richard Crenna), a smooth nightclub owner, works with a small crew to execute daring heists with big payoffs, while the beautiful Cathy (Catherine Deneuve) is torn between them. As cop and criminal do what they do best, paths converge and old scores must be settled. The 13th and final film from Gallic great Melville (Bob Le Flambeur, Army of Shadows) doubles-down the ice-blue look that had been the director's signature in Le Samourai and Le Cercle Rouge, both starring the equally cool Delon.


Critic Reviews for A Cop (Un Flic)

All Critics (18) | Top Critics (6) | Fresh (14) | Rotten (4)

Audience Reviews for A Cop (Un Flic)

  • Aug 08, 2014
    Melville's farewell not only to the crime genre and his collaboration with the great Alain Delon, but to cinema itself, was the last proof that shows that Melville was still at the top of his game. The story is deceptively simple, goes by the book, opens as most films of the genre do, closes like few of them do, has a predictable climax, and is one of the most important examples of neo-noir, including the relentless, determined cop, the beautiful blonde femme fatale and the typical friendship connection between cop and crook. What are, then, the motivations for watching the film? Mellvile's scope, of course, the jazzy score and the performances of the terrific cast. <i>Le Cercle Rouge</i> is famous for keeping the number of important characters small, and therefore memorable, but it is even more famous for featuring one of the best heist scenes in the history of cinema, which itself is a homage to Dassin's <i>Rififi</i> (1955). Pacing, attention to detail, suspense, silence, imminent danger: Melville transformed robbery into art, something only achievable in a medium that portrays fiction. <i>Un Flic</i> is a lesser effort, but tries to restore that already explored tradition. The number of characters is small, all film noir trademarks are there, Delon shines, Deneuve's look is enough to hypnotize you, and the aforementioned attention to detail is expressed in the train operation sequence, which again keeps the dialogue to a minimum and shuts down the musical score. Although I mentioned that the film opens like most do crime flicks do, that was only thematically. The execution is unparalleled. Both scenes feature suspense at its best. On the other hand, the term "lesser" unfortunately involves some undeniable issues. For starters, the love triangle between Delon, Deneuve and Crenna is half-baked, and is used as a very brief excuse to pull off your typical noir plot description. This issue is left unfinished and the viewer is left scratching his/her head wondering what was the use of putting them in a love triangle in the first place. No satisfactory resolution is given post-climax. That was a slap to our faces. Secondly, the friendship between Delon and Crenna is also left as something implied. Normally, these crime plots carry some moral ambivalence conflict in the "good" protagonist. By the time we get to the ending, we realize we are in the ending and this flank was left uncovered. Finally, it is too short! Everything had the potential of being expanded to the average length of Melville's other films, some time that could have also been used for fixing the two previous issues. There was not enough interaction with both the good and the bad sides, and the badassery of Delon was there, but not entirely exploited. Still, maybe those were signs indicating that Melville was decaying and retired at the proper time. That's a very bold and maybe disrespectful hypothesis, something far beyond my intentions, but we must accept this is a replica of his famous stunts in a smaller scale. What remains is a delightful neo-noir contribution which has been left underrated because of its overshadowed status by greater films in Melville's enviable canon more than by its inferior quality, but comparable entertainment value. 82/100
    Edgar C Super Reviewer
  • Feb 12, 2014
    While still a fine movie in its own right, there is precious little going on in Melville's final offering that followers of his work will not have seen better executed elsewhere. The Delon-Deneuve-Crenna triangle is too perfunctorily sketched to either convince or engage our interest. Of the three leads, Crenna does best, with Deneuve at her most icily vacant and Delon less appealing on the right side of the law. Curiously, the most sympathetically drawn and intriguing characters are in supporting roles: Riccardo Cucciolla's Paul, an ex-bank manager turned robber who reluctantly deceives his wife (Simone Valère) by pretending to be looking for work, and especially Valérie Wilson as Delon's transvestite informer. Worth seeing for a couple of typically excellent heist sequences, the second only marginally spoiled by some rather obvious model work.
    Stephen M Super Reviewer
  • Jan 20, 2011
    Jean-Pierre Melville's final project is a blue-toned caper film with two extended heist sequences and several long stretches without dialogue. Alain Delon (who also starred in Melville's "Le Samourai" and "Le Cercle Rouge") is now a good guy -- a detective on the trail -- and lead criminals Richard Crenna and Michael Conrad are presumably dubbed in French. Catherine Deneuve shows up for a few scenes to look beautiful but feels written into the story as a marketing move. The most interesting segment is the second heist, an elaborate robbery of a train in motion. Unfortunately, the cost-cutting use of a miniature helicopter and train for the long shots is seriously embarrassing.
    Eric B Super Reviewer
  • Sep 06, 2009
    melville blends his usual style with a gripping crime story that tracks every detail as parts of the story unfold in almost real time. the only drawback might be the films accessability as it is so intelligently written and filmed that one might have to be almost too smart to track along the way, but those that follow the story will be drawn in. phenomenal film.
    danny d Super Reviewer

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