Mjeteconer Just perfect...

FeistyUpper If you don't like this, we can't be friends.

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Hattie I didn’t really have many expectations going into the movie (good or bad), but I actually really enjoyed it. I really liked the characters and the banter between them.

Kirpianuscus First, it is not the policier who you expect. against the same lines, Jean Gabin in a well known role and the last scenes. it is different for a simple reason - because the sentimental side is well developed, because the presence ( and music) of Serge Gainsbourg and for Dany Carrel performance. and for the flavor of a story political incorrect but solide and coherent and seductive. a film about the justice, friendship and choices. useful for old memories. and for the trip in the frame of a period, with its sensitivities, taste and options. a world. like an refuge.

Spondonman Jean Gabin made some tremendous movies throughout his long career, this was one I'd never seen before and although not tremendous is a pretty good absorbing gangster yarn. On the other hand the dead body count is most definitely tremendous, paradoxically human life seemed to have cheapened in value over his career.Tale of violent robberies followed by violent murders by a violent nutter, but the murder of his old childhood friend the sucker Albert really riles Police Comissaire Gabin. He dogs the baddies footsteps and eventually arranges his come-uppance in his role of official police avenger. And he's in charge and he's fed up with the seemingly endless supply of crooks. The spoiler alert is because when Dany Carrel - who I must say never looked lovelier than in here - gets pointlessly shot the film also shoots itself in the foot too and never quite recovers its direction. It left an exclamation point over my head; in fact the later train robbery reminded me of an old Keystone film in its lack of realism. Also the denouement reminded me of The Train except not poignant at all. However, overall the film was well made, flabby Gabin was eye-catching and impeccable as usual (but thankfully he wasn't asked to swing with the semi-naked hippies though!), and you're never bored.Personally I've always regarded Gabin's later films as being much more dated than his work from thirty years earlier – this is no exception. Jour Se Leve and Grand Illusion may have passed into Timelessness, and although this flimsy outing never will it's still entertaining.

GUENOT PHILIPPE It's probably the movie I have the most seen in my entire life. The first time was in 1972, a Sunday evening, on the first channel. I was only nine years old, and was astonished at this time. Since then, I have never missed any of the airing of this french masterpiece. First, the armored truck heist of the beginning, somewhere in the north of France countryside, with the Serge Gainsbourg soundtrack (Requiem pour un con)is absolutely terrific. I consider it as the most outstanding armored truck attack of the whole crime movie industry. And I am a specialist for this kind of topic - see my other comments. I guess many other film makers were inspired by this sequence. Olivuer Marchall, for 36, Quai des Orfèvres, confessed he was. And Andre Pousse, as Quinquin, the ruthless killer, is also here brilliant at the most. I say he gives in this feature his best performance ever. Unforgettable. When he kills Dany Carrel, It's so good, because you don't expect this. Or this other scene, just after he has killed on of his accomplices with his wife, he quietly checks the horse race tickets while looking for the results on the TV. And concerning one point which has not been told about by the other users, is the police settings. We see a very modern police headquarters, with computers, and the film was made in 1968...Even three decades later, the Quai des Orfèvres - the actual french police headquarters - so know all around the world - was not like this. So nothing is really realistic in this film. Nothing to do with the new french crime movies à la Olivier Marchall. I won't talk about the Alpine Renault used by the police officer, with Jean Gabin sitting in it !!!Yes folks, this is a must see film for those who have missed it.

Laurent Mousson Well, it may possibly not have aged that well, notably the story line, that's pretty linear, but this film nevertheless has a few decent assets.First, the cast, granted you get Gabin playing lead, or rather freewheeling lead, but look at the rest of the cast : an impressive array of distinctive supporting actors, many of which can be spotted in many other films of the day, who do a spendid job in here, even when silent. For example, André Pousse has the perfect face for the ruthless gangster job he does in the movie.Second asset is the mood, a sort of sticky, foggy, terribly square version of the late sixties. The final scene in a rundown factory is truly awesome. This atmosphere is enhanced by Serge Gainsbourg's splendidly sober score (Gainsbourg himself appears in one scene, singing the striking "Requiem pour un con"), based on mesmerising percussion loops (way ahead of its time) or very gentle hammond organ parts. Oh and one song by Brigitte Bardot ("Harley Davidson") is also featured as background to one scene.Third, which can only be fully appreciated with a good command of French, is the script and dialogue, where Michel Audiard delivers some of his hilarious trademark one-liners, such as "le jour où on mettra les cons sur orbite, ben t'as pas fini de tourner" ["the day they'll put gits on orbit, you'll be far from stopping to revolve"], which rely on slang and adequate delivery to give an unmistakable texture to the lines.The only real downers here are the embarrassingly "hip" nightclub scenes, complete with sitar-laden raga-rock, that are pretty unwatchable to today's standards.Last point : it's pretty violent for its time, but in an almost choreographed way, which could in a way evoke "Spaghetti" Westerns or Sam Peckinpah's work...An enjoyable slice of 1960s french cinema, simply does the job.