L'Homme en colère (1979)
Directed by Claude Pinoteau

Crime / Drama / Action / Thriller
aka: Jig-Saw

Film Review

Abstract picture representing L'Homme en colere (1979)
After having made one successful thriller together - Le Silencieux (1973) - director Claude Pinoteau and actor Lino Ventura collaborated on a comedy - La Gifle (1974) - and two subsequent thrillers - L'Homme en colère and La Septième cible (1984).  The second Pinoteau-Ventura thriller stands apart from the other two in that it was filmed in Montreal, Quebec, and has a far more American feel to it - more action oriented, far less character driven.  It's grittier, more violent and more energetic than most thrillers that were being made in France at the time, but it still retains something of the classic French policier.  Pinoteau's direction is slick and confident, but the predominance of actions scenes reveals a distinct paucity of imagination and substance in a somewhat formulaic plot.

Ventura, as ever, has a commanding presence, but it is his wrestler's physique, not his skill as an actor, that Pinoteau most relies on, and this is to the film's detriment.  Every other scene seems to end either in a full-on car chase or a vicious fist fight, and you're bound to end up thinking Montreal is the gangster capital of the world.  The taciturn tough guy Ventura makes an effective contrast with the vivacious Angie Dickinson, who does her best to make her thinly sketched character believable.  The biggest treat the film offers is Donald Pleasence showing up intermittently as shady go-between - such a shame he was not given a much bigger role in the proceedings.  Helped by Claude Bolling's mawkish score, the film ends on a toe-curlingly saccharine note, which looks suspiciously as if it was intended more for an American audience.  L'Homme en colère is a well-paced and absorbing thriller, but its lack of depth and originality ensures that, once seen, it is very quickly forgotten.
© James Travers, Willems Henri 2015
The above content is owned by filmsdefrance.com and must not be copied.
Next Claude Pinoteau film:
La Boum (1980)

Film Synopsis

When he is informed of the death of his son Julien, Romain Dupré goes to Canada to identify the body.  The dead man turns out not be Dupré's son, but a stranger who, for some reason, is carrying Julien's identification papers.  Dupré soon discovers that his son has been involved in people trafficking, smuggling illegal immigrants into the United States from Canada.  The dead man is one of Julien's latest clients, who died in a shoot-out at a police checkpoint.  Currently, Julien is on the run, pursued not only by the police but by gangsters who are determined to recover some money that belongs to them...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: Claude Pinoteau
  • Script: Jean-Claude Carrière, Claude Pinoteau, Charles E. Israel (dialogue)
  • Cinematographer: Jean Boffety
  • Music: Claude Bolling
  • Cast: Lino Ventura (Romain Dupre), Angie Dickinson (Karen), Laurent Malet (Julien Dupre), Hollis McLaren (Nancy), Donald Pleasence (Albert Rumpelmayer), Lisa Pelikan (Anne), Chris Wiggins (MacKenzie), R.H. Thomson (Borke), Peter Hicks (Lentini), Sonny Forbes (Le boxeur noir), Vlasta Vrana (Le gérant du club), Edouard Carpentier (Portier du club), Aubert Pallascio (Parker), Olivier Guespin (Julien adolescent), Andrew Semple (Young man in Disco), Prudence Harrington
  • Country: Canada / France
  • Language: French
  • Support: Color
  • Runtime: 105 min
  • Aka: Jig-Saw

The best films of Ingmar Bergman
sb-img-16
The meaning of life, the trauma of existence and the nature of faith - welcome to the stark and enlightening world of the world's greatest filmmaker.
French cinema during the Nazi Occupation
sb-img-10
Even in the dark days of the Occupation, French cinema continued to impress with its artistry and diversity.
The best of Russian cinema
sb-img-24
There's far more to Russian movies than the monumental works of Sergei Eisenstein - the wondrous films of Andrei Tarkovsky for one.
The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
The very best of German cinema
sb-img-25
German cinema was at its most inspired in the 1920s, strongly influenced by the expressionist movement, but it enjoyed a renaissance in the 1970s.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright