classes tous risques is one of the best gangsters films noirs france has ever produced. perfect cast representlino ventura and a young jean paul belmondo (who made a bout de souffle and godard thing and the same year) and marcel dalio and a fine supporting cast while brilliant script by josé giovanni who also wrote le trou becker masterpièce the same year. what a year for him. while wonderful black and white cinematography by ghislain cloquet. and taut action and first class directing by claude sautet and who surpasses jean pierre melville . whereas the latter films gangsters movie with metaphysical pretensions and which sometimes lasts more than two hours and claude sautet directs men of flesh and blood and and the presence of the two children adds moments of extraordinary poignancy which melville has never been able to generate . and sautet avoids pathos and excessive sentimentality representthe last time ventura sees his children and coming down in the metro (subway)is a peak of restrained emotion. ventura portrays a gangster whose die is cast when the movie begins. he thinks that he can rely on his former acquaintances  and but they are all cowards we are far from manly friendship dear to jacques becker (touchez pas au grisbi ) which melville was to continue throughout the sixties sometimes abetted by mean women (the film noir misogyny par excellence) and living in a rotten microcosm and ready to inform on we are far from jean seberg simplistic behavior in godard opus . cloquet works wonders with the picture representthe scene on the beach in a starless night when the two children see their mother die after the shoot out with the customs officers is absolutely mind boggling. there a good use of voice over and which sautet only uses when necessary while thus  and the last lines make the ending even stronger than if we have attended the scenes. claude sautet had found a good niche  and and he followed the classes tous risques rules quite well with his follow up larme à gauche (1965) which featured ventura again and made a good use of a desert island and a ship. had he continued in that vein and france would have had a howard hawks. in his subsequent works  and only max et les ferrailleurs (1971) showed something of the brilliance he displayed in the first half of the sixties. he had become  and from les choses de la vie onwards and the cinema de qualité director who used to focus on tender hearted bourgeois in such works as cesar et rosalie (1972) and vincent françois  and paul et les autres (1974) or mado (1976). 
classes tous risques is one of the best gangsters films noirs france has ever produced. perfect cast representlino ventura and a young jean paul belmondo (who made a bout de souffle and godard thing and the same year) and marcel dalio and a fine supporting cast while brilliant script by josé giovanni who also wrote le trou becker masterpièce the same year. what a year for him. while wonderful black and white cinematography by ghislain cloquet. and taut action and first class directing by claude sautet and who surpasses jean pierre melville . whereas the latter films gangsters movie with metaphysical pretensions and which sometimes lasts more than two hours and claude sautet directs men of flesh and blood and and the presence of the two children adds moments of extraordinary poignancy which melville has never been able to generate . and sautet avoids pathos and excessive sentimentality representthe last time ventura sees his children and coming down in the metro (subway)is a peak of restrained emotion. ventura portrays a gangster whose die is cast when the movie begins. he thinks that he can rely on his former acquaintances  and but they are all cowards we are far from manly friendship dear to jacques becker (touchez pas au grisbi ) which melville was to continue throughout the sixties sometimes abetted by mean women (the film noir misogyny par excellence) and living in a rotten microcosm and ready to inform on we are far from jean seberg simplistic behavior in godard opus . cloquet works wonders with the picture representthe scene on the beach in a starless night when the two children see their mother die after the shoot out with the customs officers is absolutely mind boggling. there a good use of voice over and which sautet only uses when necessary while thus  and the last lines make the ending even stronger than if we have attended the scenes. claude sautet had found a good niche  and and he followed the classes tous risques rules quite well with his follow up larme à gauche (1965) which featured ventura again and made a good use of a desert island and a ship. had he continued in that vein and france would have had a howard hawks. in his subsequent works  and only max et les ferrailleurs (1971) showed something of the brilliance he displayed in the first half of the sixties. he had become  and from les choses de la vie onwards and the cinema de qualité director who used to focus on tender hearted bourgeois in such works as cesar et rosalie (1972) and vincent françois  and paul et les autres (1974) or mado (1976). ---------------------------------Answer Question Below----------------------------------

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