TWO AGAINST THE LAW (José Giovanni - France/Italy 1973).
Alain Delon is former safe-cracker Gino Strabliggi, who is released from prison after mediation by prison reformer Germain Cazeneuve (Gabin). Banned from Paris by statute, Gino tries to make a new start in Montpellier, in the south of France, where he finds honest work as a printer and a new love in the form of Lucie (Mimsy Farmer). The vengeful policeman inspector Javert (Michel Bouquet), who arrested Gino in Paris, pursues him to Montpellier and harasses him, his employer and his new girlfriend. Gino, who desperately tries to straighten his life, is increasingly pushed to breaking point. A pretty much unknown Gérard Depardieu also has a small part (only one scene actually) as a young ambitious gangster who tries to intimidate Gino early on in the film.
The whole plot is much too obvious and bears little surprises. The film begins well enough but early on, it's clear Gino is gonna snap at some point. The middle part is slowly paced and - quite simply - boring. In the end, with the court scene and a dramatic ending, the film comes back to life in a way, but that came a little too late for me. Gabin and Delon carry this a long way, with Gabin more world-weary than ever, but he seems just as tired as everybody in the film. But he delivers and - as always - remains fascinating to watch. Delon is ultra slick, handsome and cool, especially for a ex-convict, but he's not given much material to shine. In one small scene, when he is summoned to keep the music down by the neighbours in his Montpellier apartment, he only needs his body language to intimidate. As far as French actors are concerned, he remains the ultimate example of sophisticated coolness.
Corsican born director Jose Giovanni was on death row himself shortly after World War II, and was pardoned by the French president. Obviously this story is a cause celèbre the director, but his attack on the French justice system and the death penalty is heavy-handed and obvious in the extreme. After a while, with Gabin's voice-over hammering home the director's convictions, I couldn't care less about Gino's fate. The much praised score by Philipe Sarde comes across as old fashioned and overly clammy now, not much of a recommendation as far as I'm concerned. This could have been much better, but it's of minor interest for Delon or Gabin fans at best.
Camera Obscura --- 5/10
Alain Delon is former safe-cracker Gino Strabliggi, who is released from prison after mediation by prison reformer Germain Cazeneuve (Gabin). Banned from Paris by statute, Gino tries to make a new start in Montpellier, in the south of France, where he finds honest work as a printer and a new love in the form of Lucie (Mimsy Farmer). The vengeful policeman inspector Javert (Michel Bouquet), who arrested Gino in Paris, pursues him to Montpellier and harasses him, his employer and his new girlfriend. Gino, who desperately tries to straighten his life, is increasingly pushed to breaking point. A pretty much unknown Gérard Depardieu also has a small part (only one scene actually) as a young ambitious gangster who tries to intimidate Gino early on in the film.
The whole plot is much too obvious and bears little surprises. The film begins well enough but early on, it's clear Gino is gonna snap at some point. The middle part is slowly paced and - quite simply - boring. In the end, with the court scene and a dramatic ending, the film comes back to life in a way, but that came a little too late for me. Gabin and Delon carry this a long way, with Gabin more world-weary than ever, but he seems just as tired as everybody in the film. But he delivers and - as always - remains fascinating to watch. Delon is ultra slick, handsome and cool, especially for a ex-convict, but he's not given much material to shine. In one small scene, when he is summoned to keep the music down by the neighbours in his Montpellier apartment, he only needs his body language to intimidate. As far as French actors are concerned, he remains the ultimate example of sophisticated coolness.
Corsican born director Jose Giovanni was on death row himself shortly after World War II, and was pardoned by the French president. Obviously this story is a cause celèbre the director, but his attack on the French justice system and the death penalty is heavy-handed and obvious in the extreme. After a while, with Gabin's voice-over hammering home the director's convictions, I couldn't care less about Gino's fate. The much praised score by Philipe Sarde comes across as old fashioned and overly clammy now, not much of a recommendation as far as I'm concerned. This could have been much better, but it's of minor interest for Delon or Gabin fans at best.
Camera Obscura --- 5/10