Max is a Paris detective, aloof, independently wealthy, and frustrated by gangs of robbers whom he cannot catch. To re-establish his stature and save face, he decides to inveigle a group of petty thieves (led by an old acquaintance) to rob a bank. A reluctant captain provides Max intelligence and Max starts spending evenings with Lilly, a prostitute who's the girlfriend of the group's leader. He poses as a rich banker with money to burn and encourages Lilly to think about her future. He hints at a payroll that comes through his bank. The plot works, the petty thieves think they're ready for a big score, and the cops are in place. What could go wrong with Max's cold plan? Who's entrapped?
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Undeservedly neglected, 'Max et les ferrailleurs' is one of the most intelligent, splendidly acted and carefully crafted French crime flicks of the 70's. However, cataloguing it as just another 'crime flick' would be sacrilegious, as it has to offer much more to the patient viewer.Claude Sautet, from what I have gathered, is known for his dealing with the bourgeoisie's turmoils, often depicting complex social dramas in his films. Prior to watching 'Max et les ferrailleurs', I had only seen another great film he made with Michel Piccoli - Les Choses de la Vie, which is indeed quite different from 'Max'. The subjects and genres might differ, yet Sautet ingeniously manages to create intriguing character studies (as both films have fascinating protagonists) and, while at that, to depict perplexing and powerful love stories, which help shape the protagonists' moral portraits.I won't insist on the plot; suffice to say that the film does not get dull at any time and it also does not fall into a standard, clichéd policier. Max, the protagonist, could be compared to Melville's Le Samourai, insofar as both are cold, meticulous, obsessive and enigmatic. The baddies - the 'junkmen'- are also well individualized, and here I should point out the excellent scene where policeman Rosinsky talks about each of them. Last but not least, there's also the divine Romy Schneider: between us, I wasn't able to take my eyes off her whenever she was in front of the camera.One more aspect that amazed me about the film was the fluent and elegant camera-work, which had an immense impact on creating the film's atmosphere. Although I'm not by any means technical literate, the composition of the shots struck me as carefully planned and the lightning was spot-on.In a nutshell, 'Max et les ferrailleurs' is more than you'd be inclined to think: it's gritty and elegant at the same time, it's brutal and sensual, it's a thrilling crime movie and a complex character study, in short it is what a good film must be. Don't miss it!
I went to see this movie today in NEW YORK is going to be show for one week only and for the first time is show in USA, the movie is very good with a great end but what make this movie good is ROMY SCHNEIDER 1938-1982 when she came out in the screen ,she play a prostitute named lily, the question i ask myself was how come somebody can be so beautiful so perfect i have not word to described this woman and beside her talent she was so good in her part i love this movie, ROMY IN REAL LIFE WAS NEVER HAPPY SHE HAVE A5 YEARS LOVE AFFAIR WITH ALAIN DELON AND AFTER THAT SHE MARRIED THE FATHER OF HER LATE SON David EVENTUALLY SHE DIVORCED HIM AND MARRIED DANIEL BIASINI THE FATHER OF HER DAUGHTER SARAH
Claude Sautet made some of the finest pictures I have seen, over a period of three decades. If the script he is shooting is occasionally less than interesting, it remains that Sautet's talent is very great. He teamed with Romy Schneider on five films, helping her to shed the sex-doll image she had picked up through the Sixties.Max is an obsessed, aging detective who sees life through blinkers. His colleagues humour him, although one gets the impression they would like to see him pensioned off. Lily the prostitute he falls for represents the one mistake in his life, if love may be called a mistake. Sautet gives Michel Piccoli and Romy Schneider plenty of room to develop their characters. There is one virtuoso sequence set in a junk yard in Nanterre, a run-down suburb of Paris: Rozinsky describes with no little humour the lives of some marginals, while Sautet's camera prowls around the site.
Few people know it,but Claude Sautet was first a film noir connoisseur.His first work,"classes tout risques" was beating Jean -Pierre Melville at his own game;the follow-up ,"l'arme à gauche" ,is difficult to see nowadays ,but if you can ,do not think twice.In the seventies,from "les choses de la vie" onwards,Sautet became the cinema de qualité director .I mean it pejoratively.Whereas "les choses de la vie" remains watchable today ,thanks to a sensational editing,the other works such as "Cesar et Rosalie " "Vincent François Paul et les autres" "Mado" are depicting a bourgeois life ,speaking of people "in danger of despair"(Sautet Dixit) but with an optimism that was almost unbearable in the crisis of the seventies.The screenplays became very loose,without any dramatic progression .You can sum up "Cesar et Rosalie" like this :"Rosalie loves Cesar ,but she also loves David.What will become of her ?":everything taking place in desirable mansions ,what a contemporary critic aptly called " un espace Cardin" This is two-bit psychological drama ,with ponderous symbolism,as "Mado" will confirm with its infuriating scene where the cars get boggeddown in the mud .a critic said then "it's the movie that gets bogged down itself."Max et les ferrailleurs " is a different matter;by combining the film noir side of the two first opus with what will be developed (in a very gauche way) in the "psychological" future films ,Sautet brings it all back home.It stands out as his most sustained piece of work in the seventies.An absolutely intriguing work,with a beautiful Romy Schneider who keeps the audience waiting,only appearing after 30 minutes.Her relationship with cop Piccoli is very shady,sometimes recalling the Fonda/Sutherland one in Pakula's "Klute" :it really stands comparison with it.A wonderful depiction of a popular milieu,in the suburbs of Paris (Nanterre) ,where the secondary characters seem to be out of a Duvivier or a Clouzot work.But it's finally the Jacques Becker spirit Sautet captures here ,and it's really too bad that,after such an interesting movie,he fell into the trap of the academic cinema de qualité.
