Written by Auguste Le Breton, and Jean-Pierre Melville and directed by Melville, “Bob le Flambeur” is a French noir film from the oft described Godfather of the infamous New Wave filmmakers who would burst onto the scene with radical new filmmaking techniques in just a few short years. Most of the French films I have seen at this point haven’t quite connected with me as much as I had expected, or even hoped for. That changes with this film however. Recently I noticed that a bunch of Jean-Pierre Melville movies were set to leave the Criterion Collection’s streaming service at the end of February, and I had been meaning to check them out. There’s nothing like a fast approaching deadline to give you a sense of focus. I must say that I loved this film, and I cannot wait to run through more of Melville’s filmography. “Bob le Flambeur” follows Bob Montagné (Roger Duchesne), a former Parisian gangster before the war, and now a well known gambler among the many nightclubs and bars of the night life in Paris. Even the cops know Bob, a man of honor and luck, he once saved the life of the local inspector (Guy Decomble) and they forged a long friendship. The owner of the corner bar, Yvonne (Simone Paris), bought the place with a loan from Bob, and with it her loyalty to him. And then there’s Paulo (Daniel Cauchy), an eager young man who hangs around, as his father was a great friend of Bob’s. We get most of our information about Bob by the way people greet and react to his presence and how they speak about Bob when he’s around and when he’s not.
We follow Bob as he moves from room to room throughout the latest hours of the night and the earliest of the morning, as the narration by Melville informs us “in those moments, between night and day … between heaven and hell.” He ends up losing most of his remaining funds, in fact throughout the whole first act Bob never seems to win at all. It isn’t until he hears about a potential heist with a score big enough to offset the risks that he begins to win at games of chance. It is here that a refresher on French vocabularly might be worthwhile; The word being “Flamber” (verb): To wager not only the money you have, but the money you don’t have. This is the epitome of who Bob is at his core. He is a gambler through and through, always rolling dice, flipping coins, and pulling the levers on a slot machine. Risk and chance are the fuel of his existence. Which is why the old gangster perks up when a friend mentions that the safe in the Casino in Deauville occasionally holds extraordinary amounts of money. They quickly begin to assess the situation and start gathering a crew of people with the essential skills and connections that could allow them to pull off this feat. It’s here that movies involving heists over the next fifty plus years have looked back upon for inspiration in the examination of a heist’s plan. Melville was aware enough of the conventions of the genre and chose to have his criminals forgo the usual charts and blueprints used to elaborate on the specifics of the plan. Instead, Melville had his crew go to detailed lengths to plan out their heist by spraying the outlines of the casino’s floorplans on an empty field and having his men walk through the steps. They also get some reconnaissance by driving around the Casino’s walls and having one of the crew accurately sketch the outlines and specific features of the building. They hire an expert safe cracker and acquire an exact replica of the safe they have to crack for practice. Which is all well and good, but I must direct your attention to the side characters who are all given adequate background information and motivations for their choices within the film. First, there’s Anne (Isabelle Corey), a young woman on the verge of falling into the clutches of the many pimps on the streets of Paris. Bob hates pimps, and he goes out of his way to make it known to Marc (Gérard Buhr), a down on his luck former gangster-turned-pimp early in the film. Unfortunately for Bob, Marc’s also dogged by the cops who will let him slide on smaller infractions if he gets them some good insider information from the criminal underworld of Paris. Anne floats around from Bob’s place (he allows her to stay if she has nowhere else to go), to several career paths, into and out of the lovesick arms of poor Paulo, and eventually back to Marc- who is denied her business as a prostitute, but given all too valuable information by accident.
In the end, Bob gets comepletely sidetracked by gambling at the casino. He almost forgets his schedule entirely, but runs out of the tables and into a gunfight. While he earned himself extraordinary wealth, he also missed the worst of the violence and gets there just in time to catch Paulo as he dies in his arms. Tragedy, sparked by an optimistic and oddly cynical note that by becoming so wealthy that he may avoid all jail time with the right lawyer for the right price. It’s one of those eternal ironies that comes through in the third act that adds just the right mix of cinematic magic to the whole affair, you see, Bob had promised his first partner in the scheme that he wouldn’t gamble until after the job had been done, but the allure of the casino was just too much for him. It’s just his nature, as the film likes to remind us. Beyond the plot, the cinematography caught me as something almost mythic in certain shots. That may seem strong, but the farther we get from the black and white films of the twentieth century, the closer that time feels to becoming as large and impenetrable in the cultural zeitgeist as say, the American West in the 1800’s. Maybe it’s just me, but I also love it when a film’s lead character travels through an environment and becomes dwarfed by the landscape, be it man-made skyscrapers or small towns, or natural like trees or mountains. Putting man on the scale of the world in your framing makes humanity seem small in comparison to the world around it- but it makes our acomplishments that much more powerful too.
If you’re looking for some good old school noir and are willing to read subtitles, I highly suggest checking this one out. For fun, try to spot all the people who aren’t smoking onscreen- once you notice it, it’s hard to miss the massive amount of people and time that smoking takes up onscreen. Otherwise, look forward to some more reviews on the films from Jean-Pierre Melville. ‘Til next time film nerds!
Final Score: 800 Million Francs
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