SunnyHello
Nice effects though.
Moustroll
Good movie but grossly overrated
Curapedi
I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.
Zlatica
One of the worst ways to make a cult movie is to set out to make a cult movie.
Julia_Nelis
It redefined my life, and the music is unbelievably beautiful.I first saw it when I was 8 or 9. It's incredibly good: story, cinematography, acting. It has it all.And no, they don't make films like this any more.After all these years, I cannot understand why oh why she didn't fall for Lino Ventura.And Laetitia's burial scene will haunt me till the day that I die.Don't rob yourself, watch this jewel of French cinematography.I've used its music theme for a ringtone for ages. Only once someone recognized it and almost cried.
MARIO GAUCI
Out of an Alain Delon three-film marathon, this was the one I was most looking forward to but, surprisingly, ended up being the most disappointing. The fact that the Italian TV broadcast suffered from intermittent instances of bad reception had a lot to do with this, I guess, but I also found the film (which was adapted from a novel by crime expert Jose' Giovanni, dealing with a search for treasure lost at sea) rather an inconsequential trifle! Still, the proceedings are considerably bolstered by attractive locations, the delectable Joanna Shimkus (even if her character, who hitches with stars Delon and Lino Ventura far too quickly, is killed off half-way through) and Francois de Roubaix's delightful score. Delon – playing a dashing, reckless flier – is his typically inexpressive self, but Ventura is as strong as ever as his inventor/racing-car enthusiast partner; also notable is Serge Reggiani as a nervous yet shifty hanger-on who eventually reveals the exact whereabouts of the crashed airplane in which the loot is stashed. Incidentally, the abandoned fortress in mid-ocean (Shimkus dreams of owning it, but which is eventually purchased by Ventura after her demise with his share of the recovered fortune) is a great setting – which director Enrico ably employs for the film's action climax (even if the gangsters who assault Ventura and Delon, who are also after the money, make for a bunch of anonymous villains).
jhsteel
I just saw this film in Paris, on TV, in French. Although my French is bad and I didn't understand the dialogue, I loved it. It was easy to understand the relationships between the characters and their love of life, until something happened to change it. It cheered me up when I was very tired. I would love to see it with subtitles - will British TV show it? Alain Delon was irresistible and his co-stars equally good. I am no lover of 1960s movies, but I admit that I haven't explored enough French movies from this period. This experience has encouraged me to see more, if I get the chance. It lacked the "naff" dated quality that some 60s films have - pure class all the way.
Zork G. Hun (trixter-2)
A cult classic. My personal first of cult movies. I had friends who saw it over 30 times and I clearly remember its last screening in Hungary. Ignoring all fire regulations, the manager of the theatre let in everybody who showed up. I was standing in a crowd. Like all cult movies, it speaks the angst of its time. It does not really matter what it is about, what matters is how it feels. It is difficult for me to judge it now because it still touches me and I do not know how much of that is just the nostalgic longing for the angst of my youth. Neither do I know if it is possible for someone who did not live through the sixties to relate to it. Or if it can talk to American viewers. Cult movies can seldom be called cinematographic achievements; you will seldom find them in the books of film history, but if you want to understand the times they represent, nothing can replace them. This IS the movie of the sixties just as Easy Rider was the movie of the seventies.A definite must see.
