A Cop (Un Flic) - Movie Reviews - Rotten Tomatoes

A Cop (Un Flic) Reviews

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½ April 3, 2016
Found it a bit boring, dun like it much.
September 5, 2015
Liked the real time filming of robbery on the train.Good to see on big screen as part of Catherine Deneuve â" Une RÃ (C)trospective @AFdeSydney Classic Film Festival. However she is hardly on screen.
July 31, 2015
Four men rob a bank in Saint-Jean-de-Monts. However, one is seriously wounded and they leave him in a clinic after hiding the money in a sophisticated scheme. Meanwhile Commissaire Edouard Coleman (Alain Delon) is investigating the murder of a woman and his informer, a transvestite named Gaby, tells him about a shipment of heroin carried by a mule called Suitcase Matthew by train to Lisbon. Nightclub owner Simon (Richard Crenna), Edouard´s friend and a prime suspect in the robbery learns that the police is tracking the wounded thief in hospitals and clinics and they will certainly find him at some point. Simon and the rest of the gang goes with his girlfriend (Catherine Deneuve) to kill the wounded gang member so he won´t talk. At the same time has Simon come up with a plan to rob Suitcase Matthew on the train and get hold of the heroin. Coleman is evidently getting closer to Simon and his men...

"Un flic" is a 1972 French film, directed by Jean-Pierre Melville. This film has a strong ensemble with Delon, Crenna, Conrad and Deneuve in the leads. However, one can wonder about the decision of using Crenna and Conrad, two very american actors only speaking french in the film. Dubbed it seems, even if there´s scenes when it´s more uncertain. In Crenna´s case it was apparently post-dubbed for accent reasons, meaning he spoke french during his scenes. "Un flic" is slick, sterile, cold coloured and slow paced film with a narrative that´s a bit too scattered in my book. There´s hardly any proper character development, it´s not always needed, but I personally feel that the film would´ve been a bit better with that. I like Melville´s decision of having two long no-dialog and no-music scenes in the film, which in itself creates a unique feeling within the movie. The pillar of the film is the code of honor. By betraying trust and fooling someone professionally means there will be revenge and the price is death. Like in the classic Western and Samurai movies. I love the stare down scenes obviously inspired by classic western stare downs. The worst part of the movie is the train heist with obvious helicopter/train miniature models. That drags down the movie for sure in my eyes. Not even in 1972 that would´ve passed unnoticed. There´s also a bit too many scenes with quite crappy studio settings that drags down the film as well. Delon is good, but this is not his best work. Crenna and Conrad gives some weight, but I don´t honestly believe in their physical action scenes, they simply don´t have have the physics and charisma for that. Specifically Crenna. The always beautiful Deneuve is underused and just eye candy unfortunately. What a waste of a great actress. "Un flic" has something unique, but it´s not enough to excite me in 2015.
March 13, 2015
Career criminals wear fedoras and trenchcoats like its 1945 and they're attending a Robert Mitchum impersonation competition. Rain isn't weather; it's sexytime music for a cocaine heist. The world is covered in an uncompromising azure mist that squeezes the life out of every possibility of beauty, whether that beauty is reaching Catherine Deneuve's white blonde demeanor or an enticingly French city street. A Jean-Pierre Melville directed crime film rests in a middle-ground of romanticization and adamantine realism; it climaxes at the nearest sight of a Humphrey Bogart photograph, but it's also interested in telling a story where a robbery can be delivered with seamless perfection ... but that doesn't mean that a pessimistic cop won't catch up with you in the end in a hazardously bloody fashion.
"Un Flic" is a relatively minor Melville film (especially putting "Bob le Flambeur" and "Le Cercle Rouge" into consideration), but it's ravishing all the same. Like the problematic comprehensibility of "The Big Sleep," it isn't worried about tight narrative. It's about temperament and atmosphere, and it's safe to say that the ambience of "Un Flic" is penetrative enough to make your bones break. There's something uneasy that leaks from the ghost blue of the cinematography and Richard Crenna's depressed eyes; the placid slickness of it all can only reach so far before someone is shot.
Telling the interconnecting stories of a tireless cop (Alain Delon) and a nightclub owner (Crenna) who pulls off massively intricate jobs with big payoffs, "Un Flic" is squalid enough to make us squirm; criminals walk right under the noses of the police, while the police, as well-meaning as they are, are confined to a purgatory of law-breaking with payoffs that brings no one pleasure. In so many other crime films, there's a notion that once the main villains are locked up, the heroes are left satisfied, ready for their next big adventure. But "Un Flic" exists in an entirely different universe. The chasing and capturing of criminals is tiring, redundant even. Who is having more fun: the sinners, or the rule-followers?
Initially, the film seems as though it's going to transform into a full-fledged exercise in film noir style. Cigarettes are tossed around, liquor is spilled, and femme fatales are easy to come by. But the closer we get to the conclusion, we begin to realize something: Delon's character, Edouard Coleman, isn't a James Bond or a Frank Bullitt or a Harry Callahan. He is a man, a man who was intrigued by enforcing the law many moons ago but is finally growing restless from the unavoidable sleazy details he sees on a day to day basis. Behind his eyes is a glassy emptiness; if he were to throw away his badge this very moment, what difference would it make?
I suppose "Un Flic"'s melancholy edge is what gives it such a lasting impression. The story is too complicated to easily follow and the style is one and the same with Melville's other films. But that blue, that blue, is disturbing. Unlike black-and-white, it gives reality a grit never seen by the naked eye. Crime doesn't pay and don't we know it, but in "Un Flic," even renowned actors like Alain Delon and Catherine Deneuve can hardly live in a world this hopeless.
November 14, 2014
Much like the Red Circle, but less consistent and the tension is less gripping. Compared to everything else, though...
October 7, 2014
As stylish as other films of Melville, but it has never interested me.
ElCochran90
Super Reviewer
August 8, 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.

Le Cercle Rouge 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 Rififi (1955). Pacing, attention to detail, suspense, silence, imminent danger: Melville transformed robbery into art, something only achievable in a medium that portrays fiction. Un Flic 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
½ June 2, 2014
Melville's style.......keeps us on the edge of our seat.
½ April 24, 2014
The best French toy-train-and-toy-helicopter-robbery movie I've ever seen.
½ February 23, 2014
Sadly Melville's last film. A complex narrative with plenty of twists and turns.
Super Reviewer
½ February 13, 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.
½ July 21, 2013
Jean-Pierre Melville's final film, a suspenseful but often passé crime thriller, maybe more shocking in 1972.
June 5, 2013
Definitely Melville's driest film, but like always, the man knows how to shoot a film.
November 30, 2012
hello

here is EL7KR


So i vouldt see the film , if it is posible ??

best
de m
July 25, 2012
Eu não consigo acreditar que alguém tenha REALMENTE gostado desse filme. Assisti-lo por inteiro foi uma tortura, não me importa se é do Melville, se tem a Deneuve e o Alain Delon. É simplesmente péssimo, parado, um filme policial sem nenhuma ação e nenhum conteúdo. Enfim, recomendo pra quem tem problemas de insônia.
Super Reviewer
April 27, 2012
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.
March 6, 2012
Noir... heists...flawed characters...
February 22, 2012
Not his best, but Melville plays Delon's and Crenna's characters against each other and towards each other's goals so well that this film deserves more praise than it got. The ending is fairly shocking, yet somehow not a surprise at all, given the characterization and history of both the characters and Melville's directing style.
December 31, 2011
Alain Delon, a Paris police commissioner, has seen too much, and it disgusts him. He has nothing but disdain for the entire human race and if he had a bomb big enough, he'd probably blow up Paris and be done with it. He pulls punks into the station and beats them with the same concern he would show a smudge on a mirror. If he's about to nab a criminal and sees the guy is about to commit suicide, he looks away, lets him, and why bother having to deal with him alive. He has no friends because everybody is scum -- potential jailbirds he'll have to bother with. He's really angry, and Delon's blue eyes are moist throughout, deeply pained, because he's a man who hates being alive. Ignore what you read, this is another Melville masterpiece, foolishly name-changed for the US to Dirty Money from the actual title, "A Cop". Melville pulls in a couple of American actors, most important the superb Richard Crenna, as Delon's co-star and nemesis. There's a scene in a nightclub Crenna owns -- Delon comes in to "visit" Crenna and their mutual girlfriend Catherine Deneuve. The sequence is silent, as so much of Melville's work is. It's all about the eyes, Delon staring at Crenna, Crenna looking back at him, Delon staring, and finally just getting up and leaving. This is a heist movie. Crenna pulls a heist with his team at the beginning that had me with a knot in my stomach. It's a bank job. It's a prelude to a daring helicopter robbery of a batch of heroin being transported on a train. Delon has a stool pigeon, a glamorous transvestite, who tells him exactly where on the train the goods will be. But a pro named "Suitcase" has been hired to move the heroin. It's his niche. Delon has to work out who's pulling the job and track them down. He does it, ruthlessly and mercilessly, and when he's done, he looks at Deneuve, knowing she was in on it, leaves her for another go round, and takes a radio call for his next job, his next dealing with the trash that inhabits Paris. Melville is saying, in the main title and in Delon's dialog, in this final of his films, that cops by their nature are hardened and disdainful of the public. Melville didn't import American movie genres, he created genres that were copied by Hollywood. He was one of the greatest writer-directors in film history. He wrote scripts fearlessly without dialog. He let brilliant actors like Alain Delon do the sort of work Matt Damon does in the Bourne movies, which emulate Melville's Le Samourai. Stream all the Melville films and study them if you love cinema.
December 17, 2011
I don't think you can truly enjoy this unless you're a veteran of this type of genre. There are no backstories, details on important relationships or reasons why characters do the things they do. That's because every movie before(and after) Un Flic has told you. Now 80% of the time it's a brilliant touch to do this but there is a distance you have from the characters. The only way you can relate to them is by seeing the box they painted themselves in. Melville has brilliant touches with minimal dialogue and flawlessely showing the process yet again. Melville lights the world of these characters in blues and greys.
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