Review of Le Cercle Rouge (1970) by David H — 16 Feb 2012

Le Cercle Rouge is a step up from Jean-Pierre Melvilleâ(TM)s previous crime film, Le Samourai (1967). Make no mistake, the latter film stands impressively on its own, but compared to Le Cercle Rouge, Le Samourai simply cannot compete. Specifically because the plot is more complex and the characters are better developed.

Alain Delon, the French version of James Dean, stars in both films by Melville. In Le Samourai, Delon is a hired hitman who religiously adheres to the hitman philosophy: finish the assignment even if it means sacrificing your own life. The story follows a traditional linear convention from Delonâ(TM)s point of view. Everything unfolds in the present, without any additional narrative tools such as, a flashback. More or less, the story development is very simple.

On the other hand, Le Cercle Rouge is a bit more complicated than the 1967 film. Though the film also unravels by following a linear narrative, the story mixes in three different points-of-views: Delonâ(TM)s character (Corey, a jewel thief), a blond and blue eyed detective (Mattei), and an ex-cop gone corrupt (Jansen).

The film relies heavily on chance encounters and their fates intertwine by a mutual contact: Matteiâ(TM)s escaped prisoner, Vogel. What is so interesting about Vogelâ(TM)s character is that he fills the role as the catalyst. If it werenâ(TM)t for his escape, Corey, Mattei, and Jansen would have never met and in theory Corey and Jansen would still be alive.

In addition to the filmâ(TM)s rich storyline, the story develops each characterâ(TM)s background meticulously. Outside of their given societal identities: cop or thief, Mattei for example has no other identity. The film makes an extra effort to show his solitary life at home. For instance, when he comes home, neither a wife or children greet him at the door, but instead three cats serve as his primary companions. As for Corey, on the day of his release from prison, the film quickly alludes to his past. As he checks out, the guards hand him his possessions: a watch, passport (expired), wallet, and three 3x5 photoâ(TM)s of a beautiful blonde woman. He shifts through the pictures pausing after each one as if to remind himself that his past identity is dead. It is presumed that the woman in the picture has not visited him once since his incarceration. This is supported by his reluctance to take the pictures with him. With no one to nurture him back to society, Corey quickly finds himself re-adopting to his thief identity.

From the opening sequence, the film lets the action dictate the pace of the story. One of the most memorable sequences in the film is a twenty-six minute, no dialogue scene where Corey and Vogel break into a highly secured jewelry store. From the minute they enter the building they communicate solely through gestures. As a result, every move is given extra details. For example when Corey and Vogelâ(TM)s third accomplice, Jansen arrives a few minutes early to the scene, he kills time by doing an unnecessary and precautionary act by removing his black dress shoes (my guess is because he does not want to make extra noise).

Purposely the film uses sparse dialogue to give the characters a certain impression. Since the story is about professional criminals, they let their actions do their talking.

Steven Spielberg was once asked in an interview, What makes a good movie? He answered with, If you can follow a story without the sound and the movie still makes sense, that makes a good movie. I believe Le Cercle Rouge is one of those movies. It remains true to what a movie is by definition: a visual story.