"It isn't bad luck," hisses the lead villain. "It's incompetence!" In truth, what more can you say for a French film that sets out to emulate the very worst of Hollywood drivel and fails even at that? This atrociously-plotted thriller makes you appreciate the narrative finesse of Death Wish and Dirty Harry, while aging pretty boy Alain Delon (who also produced and co-wrote) is a sadly inadequate stand-in for Charles Bronson or Clint Eastwood.
Delon plays a laconic gambler who rescues a dying man from a wrecked car. This turns out to be an assassination, not an accident - and Delon, as "the man who knew too much," becomes the killers' next target. This is frankly nonsensical, as Delon knows nothing about the conspiracy, and has never set eyes on the two assassins. Elsewhere, the same duo murder another man but leave his wife alive - even though she's an eye witness to the whole crime. And we're meant to believe they're afraid of getting caught?!
Still, it makes an excuse for two gay hit men with appalling 70s haircuts to chase Delon all over Paris. Given his fondness for such ghastly fashion no-no's as white socks with black trousers and black shoes, I could sympathies all too readily with their murderous intent! It all climaxes in the most ludicrous, ineptly-staged car chase you're ever likely to see - but at least Italian sex-bomb Dalila di Lazzaro adds a much-needed touch of glamour as Delon's girlfriend.
If this dreadful movie is of any use at all, it's for correcting the old stereotype that European Cinema Equals Art while Hollywood Cinema Equals Trash. True, the Americans may make more trash than the French...but at least they do it properly!
Delon plays a laconic gambler who rescues a dying man from a wrecked car. This turns out to be an assassination, not an accident - and Delon, as "the man who knew too much," becomes the killers' next target. This is frankly nonsensical, as Delon knows nothing about the conspiracy, and has never set eyes on the two assassins. Elsewhere, the same duo murder another man but leave his wife alive - even though she's an eye witness to the whole crime. And we're meant to believe they're afraid of getting caught?!
Still, it makes an excuse for two gay hit men with appalling 70s haircuts to chase Delon all over Paris. Given his fondness for such ghastly fashion no-no's as white socks with black trousers and black shoes, I could sympathies all too readily with their murderous intent! It all climaxes in the most ludicrous, ineptly-staged car chase you're ever likely to see - but at least Italian sex-bomb Dalila di Lazzaro adds a much-needed touch of glamour as Delon's girlfriend.
If this dreadful movie is of any use at all, it's for correcting the old stereotype that European Cinema Equals Art while Hollywood Cinema Equals Trash. True, the Americans may make more trash than the French...but at least they do it properly!