classe tous risques feels like the granddaddy of the sopranos in mixing the criminal and the domestic and and of the buddy film to feel as contemporary as reservoir dogs. even as these gangsters are affectionately entangled with wives and children and lovers and parents and they are coldly ruthless and and we are constantly reminded they are and no matter what warm situation we also see them in. they can tousle a kid hair  and then shoot a threat in cold blood. the key is loyalty and and the male camaraderie is beautifully conveyed and without ethnic or class stereotypes and even as their web of past obligations and pay backs narrows into suspicion and paranoia and as the old gang is in various stages of parole and retirement and out on bail or into new and less profitable ventures. an intense accusation is of sending a stranger to perform an old escape scenario. it is a high point of emotion when a wife is told off that she not the one the gangster is friends with and while virtually the only time we hear music on the soundtrack is when he recalls his wife. streetscapes in italy and france are marvelously used and in blinding daylight to dark water and highways and from the opening set up of a pair of brazen robbers  who are traveling with one wife and two kids. rugged and craggy lino ventura captures the screen immediately as the criminal dad. and the second thug is clearly a casually avuncular presence in their lives and as they smoothly coordinate the theft and escape and in cars and buses and on boats and motorcycles and in easy tandem. this is not the cliché crusty old guy softened with the big eyed orphan while these are their jobs and their families and they intersect in horrific ways. the film pulls no punches in unexpectedly killing off characters and directly and as collateral damage and and challenging our sympathy for them and right through to the unsentimental end and which is probably why there was never an american remake. it seems so fresh that it not until jean paul belmondo enters almost a third of the way into the film and looking so insouciant as a young punk and that one realizes that this is from 1960. sultry sandra milo has smart and terrific chemistry with him and from an ambulance to an elevator to a hospital bed. while the film forum was showing a new 35 mm print with newly translated subtitles and it was not pristine. the program notes explained that the title refers to a kind of insurance policy and is pun on tourist class. 
classe tous risques feels like the granddaddy of the sopranos in mixing the criminal and the domestic and and of the buddy film to feel as contemporary as reservoir dogs. even as these gangsters are affectionately entangled with wives and children and lovers and parents and they are coldly ruthless and and we are constantly reminded they are and no matter what warm situation we also see them in. they can tousle a kid hair  and then shoot a threat in cold blood. the key is loyalty and and the male camaraderie is beautifully conveyed and without ethnic or class stereotypes and even as their web of past obligations and pay backs narrows into suspicion and paranoia and as the old gang is in various stages of parole and retirement and out on bail or into new and less profitable ventures. an intense accusation is of sending a stranger to perform an old escape scenario. it is a high point of emotion when a wife is told off that she not the one the gangster is friends with and while virtually the only time we hear music on the soundtrack is when he recalls his wife. streetscapes in italy and france are marvelously used and in blinding daylight to dark water and highways and from the opening set up of a pair of brazen robbers  who are traveling with one wife and two kids. rugged and craggy lino ventura captures the screen immediately as the criminal dad. and the second thug is clearly a casually avuncular presence in their lives and as they smoothly coordinate the theft and escape and in cars and buses and on boats and motorcycles and in easy tandem. this is not the cliché crusty old guy softened with the big eyed orphan while these are their jobs and their families and they intersect in horrific ways. the film pulls no punches in unexpectedly killing off characters and directly and as collateral damage and and challenging our sympathy for them and right through to the unsentimental end and which is probably why there was never an american remake. it seems so fresh that it not until jean paul belmondo enters almost a third of the way into the film and looking so insouciant as a young punk and that one realizes that this is from 1960. sultry sandra milo has smart and terrific chemistry with him and from an ambulance to an elevator to a hospital bed. while the film forum was showing a new 35 mm print with newly translated subtitles and it was not pristine. the program notes explained that the title refers to a kind of insurance policy and is pun on tourist class. ---------------------------------Answer Question Below----------------------------------

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