Henri Verneuil seems to have been an efficient manager. The film does not reflect any point of view of the director. But the film does arouse some interest. Mainly for its historical dimension and its cast.
On the cast side, the type of casting works to the fullest. Jean Gabin, lazy, only knows how to use the same facial expressions and mimicry that he has seen in his interpretations elsewhere. To serve, it is true, the dialogues of Michel Audiard, at times successful. But the character who thinks he is a big shot and turns out to be a cellar (see the conclusion of the film, welcome and disappointing for the viewer). Type casting also for Maurice Biraud, perfect as always, but whose interpretation does not change from film to film. Finally Alain Delon, the main actor of the film (the most interesting scenes are his) is the one who ensures the dramatic continuity.
On the side of the female characters, it is the standard misogyny of the time that is expressed. The only two female characters, Gabin's wife (Vivianne Romance, subtle, opposite a ponderous Jean Gabin) and the Swedish dancer (Carla Marlier, perfect opposite Alain Delon). Curiously, in this man's film where the women are only faires valoir, they are the best written characters.
The heist film is a sub-genre in its own right. From the recruitment and creation of the gang, the preparation, the driving and finally, the aftermath.
The film is interesting in its character component, as our heists are not smart or brilliant. Hence the conclusion of the film, a chain of bad decisions that will lead our gang not to enjoy the stolen money.
On the cast side, the type of casting works to the fullest. Jean Gabin, lazy, only knows how to use the same facial expressions and mimicry that he has seen in his interpretations elsewhere. To serve, it is true, the dialogues of Michel Audiard, at times successful. But the character who thinks he is a big shot and turns out to be a cellar (see the conclusion of the film, welcome and disappointing for the viewer). Type casting also for Maurice Biraud, perfect as always, but whose interpretation does not change from film to film. Finally Alain Delon, the main actor of the film (the most interesting scenes are his) is the one who ensures the dramatic continuity.
On the side of the female characters, it is the standard misogyny of the time that is expressed. The only two female characters, Gabin's wife (Vivianne Romance, subtle, opposite a ponderous Jean Gabin) and the Swedish dancer (Carla Marlier, perfect opposite Alain Delon). Curiously, in this man's film where the women are only faires valoir, they are the best written characters.
The heist film is a sub-genre in its own right. From the recruitment and creation of the gang, the preparation, the driving and finally, the aftermath.
The film is interesting in its character component, as our heists are not smart or brilliant. Hence the conclusion of the film, a chain of bad decisions that will lead our gang not to enjoy the stolen money.