This one could be literally counted as the "old-ennui-phallocentric-deadpan-servitude" experience of a French gangster life, shortly, a disaster
Jean-Paul Belmondo is beguiling, the others? Are skimble-scamble. The French-New-Waves influences of the auteurism is in this interminable delible voice-out-frame character introduction and interminable non-diegetically fade-out cut, elucidated dissected narrative that are also insufferable and shallow-framed. It could be as nonseasoned as The Godfather, but at least you have to make it watchable in some points. The inner spirt is even transcended by those suck Hollywood gangster movies, the only appreciable part can be the realism setting somewhere, but nothing grow-up on it, and the children in a gangster movie for a further moralization, though they are also just "parts", you can not connect it with the whole film, or you would be lost. The whole film had excluded the audiences from these unawared use of auteurism and Knowing-you-are-watching-a-film-sleights to a stage of appreciating this as an arthouse interpretable experience, but then, Claude Sautet showed how he, himself, doesn't know and want anything about it.
Film Forum How could this film be screened everyday 4 times for a week?
Film Forum How could this film be screened everyday 4 times for a week?