Le Cercle Rouge: Review

Few films can claim as much influence over their genre as Le Cercle Rouge, Jean Pierre Melville's crime thriller from 1970 that brilliantly re-invents the wheel and even 37 years later, seems as fresh and innovative as it was when it was originally released. A meditative heist film featuring the indelible Alain Delon, Le Cercle Rouge is a quiet stunner, with pitch-perfect pacing and style to burn, and deserves every second of screen time it inhabits. Unlike so many of the crime thrillers of today, which furiously rush around trying to throw twist upon twist with no vision of the larger picture, Melville's concoction is a slow, contemplative classic, completely willing to take its time building up to the astonishing heist sequence, a nearly 25 minute sequence devoid of dialogue. Everything leading up to this masterful sequence is equally as satisfying and upon the film's conclusion, it is one of the quickest (and coolest) 150 minutes of your life. Taking the minimalist hipness of Le Samourai to its breaking point, Melville creates a film that is quite frankly transcendent: it's too pop to be considered high class cinema but it is too thoughtful to be a popcorn flick. Delon, in the type of role that he built a career around, is perfect, as is the rest of the cast, all playing their part with a bracing precision that is never over the top and always, without fail, wonderfully understated. It is this understatement that is the key to the film's continued and seemingly effortless success.

To talk about the story of Le Cercle Rouge is almost pointless, as it is fairly simple and any description cannot do the film justice. Basically, it tells the story of a just released convict, an escaped convict and a disgraced cop and their attempt to steal 20 million dollars worth of jewels. It is what happens in between that is simply magical and defies any sort of explanation: it really must be experienced to be believed. For any fans of Michael Mann, John Woo or Quentin Tarantino, Melville's work will feel worn in and welcoming in its style. It shares the cool, calculated style that Mann has been continuing and perfecting with works such as Heat, Collateral and his most recent masterpiece Miami Vice. Tarantino's and Woo's pop philosophizing fits perfectly with Melville's and it is no wonder that both cite the French director's work as a cornerstone of their filmmaking. In fact, Melville is the perfect combination of all three, a deft blend of style, violence and honor, three characteristics that define the three modern masters' work.

Melville was a self-proclaimed American culture junkie, even going as far as adopting Moby Dick author Herman Melville's last name as his screen persona. His influences shine brightly here as the great American Noirs of the late 40's and early 50's dominate the tone of Le Cercle Rouge. The Asphalt Jungle in particular, in its exploration of a jewel heist weighs heavily on Melville's cinematic shoulders but as all masters can, he is able to subtlety alter Huston's vision to his own means, grabbing what he can while remaining truly original. Where Le Cercle Rouge differs from its noir predecessors is in its contemplative nature and while the post war American crime classics always bordered on the pulpy nature of Chandler and Hammett, Melville's creation is more introspective and philosophical. Much like Godard's classic Breathless, Le Cercle Rouge never feels like a B-movie when in reality it is one right down to it's gritty, violent core. It masquerades itself as an art film with its A-List cast and director but make no mistake, first and foremost, it is an abashed, gripping thriller brimming with realism. It's not a film for everyone, however. It requires close attention and a solid patience level but for those willing to invest themselves, its worth the trip. The Criterion Collection released the complete cut (which for years had been unreleased and unavailable in the US) a few years back and as always with Criterion, the presentation, packaging and extras are splendid. They enhance the film and for the majority of us unable to find this at a revival house, it is the next best option.

For many Americans, Melville remains somewhat of an enigma, overshadowed by his French contemporaries such as Truffaut and Godard, who at the time were literally reinventing cinema in front of the world's eyes. However, with his entire filmography now readily available (or soon to be, Army of Shadows will be released by Criterion in mid-May) to the general public, his place in history should be assured. His films are refined, thoughtful and entertaining, three aspects that are rare in current crime cinema. In fact, with the exception of Mann and exceptions such as LA Confidential and Brick (and others), today's crime flicks are a dime a dozen with little in the tank but thankfully, with films such as Le Samourai and Le Cercle Rouge waiting in the wings to be rediscovered by the current cinematic generation, the genre is not dead, just laying in dormant, waiting to rear its vicious head.

*****