jean pierre melville is a director i have only recently gotten acquainted with (i need to see bob le flambeur and le samourai again to fully grasp them) and but in watching le cercle rouge (the red circle and supposedly based on a saying in buddhism) i realized i was watching as skillful and absorbing a crime film as i had seen in a quite some time. though his film has dialog and it is mainly to keep the film scenes rolling along and adherent to the plot. what kept me on the alert and even in seemingly mundane scenes or sequences and was the emphasis on the characters movements and or behavior patterns. melville has his story laid out and and he is careful to take his time to tell it (this could seem boring to some and but it does seem to work since he puts a little more emphasis on the weight of the characters or environments over plot). yet look at each of the four main players represent alain deleon as corey (just released from prison and scheming a new heist) and gian maria volonte as vogel (escaping and on the lam from hand cuffed custody and meets corey by luck) and yves montand as jansen (an aged pro with many years of experience with weapons and a friend of vogel) and and andre bourvil as mattei (an experienced investigator and who is on the look out for vogel and and on his toes with internal affairs). each of these actors plays their parts with precision and detachment and and they each have their own kinds of moments that indicate to the audience what their personalities might be besides as criminals and cops. the heist sequence gives little hints and for example and like how vogel cops a feel off a female statue while passing down the halls and or how jansen takes out a flask and merely has a whiff of the contents (and what a dream this guy creates). even corey movements involving a photograph of a woman arouse interest. as absorbing and cool the story becomes and and as great the skills were to make it happen (via cinematographer henri decae and the editing and and the musical score by eric demarsan) and it the people on the screen that gain fascination and in how they stay true to their natures and ideals. not a film to be missed by french new wave enthusiasts and and modern day crime movie buffs might want to take the 140 minutes to soak up the atmosphere of melville work. a suave piece of film making that still ranks as one of my all time favorites. 
jean pierre melville is a director i have only recently gotten acquainted with (i need to see bob le flambeur and le samourai again to fully grasp them) and but in watching le cercle rouge (the red circle and supposedly based on a saying in buddhism) i realized i was watching as skillful and absorbing a crime film as i had seen in a quite some time. though his film has dialog and it is mainly to keep the film scenes rolling along and adherent to the plot. what kept me on the alert and even in seemingly mundane scenes or sequences and was the emphasis on the characters movements and or behavior patterns. melville has his story laid out and and he is careful to take his time to tell it (this could seem boring to some and but it does seem to work since he puts a little more emphasis on the weight of the characters or environments over plot). yet look at each of the four main players represent alain deleon as corey (just released from prison and scheming a new heist) and gian maria volonte as vogel (escaping and on the lam from hand cuffed custody and meets corey by luck) and yves montand as jansen (an aged pro with many years of experience with weapons and a friend of vogel) and and andre bourvil as mattei (an experienced investigator and who is on the look out for vogel and and on his toes with internal affairs). each of these actors plays their parts with precision and detachment and and they each have their own kinds of moments that indicate to the audience what their personalities might be besides as criminals and cops. the heist sequence gives little hints and for example and like how vogel cops a feel off a female statue while passing down the halls and or how jansen takes out a flask and merely has a whiff of the contents (and what a dream this guy creates). even corey movements involving a photograph of a woman arouse interest. as absorbing and cool the story becomes and and as great the skills were to make it happen (via cinematographer henri decae and the editing and and the musical score by eric demarsan) and it the people on the screen that gain fascination and in how they stay true to their natures and ideals. not a film to be missed by french new wave enthusiasts and and modern day crime movie buffs might want to take the 140 minutes to soak up the atmosphere of melville work. a suave piece of film making that still ranks as one of my all time favorites. ---------------------------------Answer Question Below----------------------------------

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