Échappement libre (1964) - film review

David Ladislas, a career smuggler, is hired to transport a large consignment of gold into Lebanon in his sports car.  Olga, his partner in the operation, is surprised when he decides to keep the gold for himself and go on the run but she decides to play along with him.  Meanwhile, David’s scheme has been rumbled by his employers, who send armed killers after him...
© Willems Henri (Brussels, Belgium)

Four years after their first memorable rencontre in Jean-Luc Godard’s debut feature À bout de souffle (1960), Jean-Paul Belmondo and Jean Seberg are reunited in a film that is thematically similar (another comedy thriller) but stylistically worlds apart from that seminal film of the French New Wave.  Échappement libre was the second of director Jean Becker’s collaborations with rising star Belmondo, and makes quite a contrast with their previous film, the hard-edged polar Un nommé La Rocca (1961).  This kind of comédie policière was enormously popular in France in the mid-sixties and was a suitable vehicle for Belmondo, allowing him to indulge his penchant for comedy and action stunts, two of his great passions.

Although the plot of Échappement libre is formulaic to the point of mind-numbing predictability, Jean-Paul Belmondo’s presence ensured that it was a popular success, even if its audience of two million in France appears derisory compared with the almost five million achieved by Belmondo’s biggest hit of the year, L’Homme de Rio.   The following year, Gérard Oury would recycle much of the plot for his 1965 hit Le Corniaud, and achieve an audience of five times that of Becker’s film.   Whilst it is undoubtedly let down by its lacklustre storyline, Échappement libre makes up for this in other areas.  Martial Solal’s lush jazz score is richly evocative of the era in which the film was made and the plethora of exotic locations (which take in most of Europe and the Middle East) at least makes the film interesting to look at, even if the subject matter is about as intellectually stimulating as a conversation with a grapefruit.

The Seberg-Belmondo chemistry is much less palpable than it was in Godard’s film - both actors are far more confident of themselves and give far more polished performances, and this somehow weakens their on-screen rapport.  Still, there are a few enjoyable exchanges which do rekindle something of the magic of their earlier run-in.  As ever, Gert Fröbe gives great value as the implausibly avuncular comedy bad guy, whilst a plethora of distinguished actors, from Jean-Pierre Marielle to Fernando Rey, are on hand to prevent the film from living up to its unfortunate English language title, Backfire.  Trivia addicts should note that Costa-Gavras worked on this film as first assistant director, immediately before making his directing debut with Compartiment tueurs (1965).  Échappement libre is hardly a classic but if you have nothing better to do it’s an amiable little timewaster.  Le Corniaud is, however, much, much funnier...

© James Travers 2012

Write a review for this film...

What do you think of this film?