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Inspector Antoine Gallien (Lino Ventura) is a no non-sense and practical man who only believes in facts and evidence, and is assigned on the New Year 's Eve to question a wealthy tuxedo-wearing attorney named Jerôme Martinaud (Michel Serrault), suspected for the rape and murder of two little girls. There's no real evidence against him except that he was near the locations where the victims were found. So, because he was at the wrong places, at the wrong moments, he naturally falls "under suspicion" (a wink to the US remake's title).

"Garde à Vue" has only four main characters, the two leads plus Gallien's colorful assistant Marcel Belmont (Guy Marchand) and Martinaud's cold and sophisticated wife (Romy Schneider in her next to last role). And through a short running-time of eighty something minutes and a very austere setting such as the commissariat of a French small town, the whole movie consists on a long questioning session where Gallien tries to establish Martinaud's alibi, if he ever has one. Needless to say that both actors are perfect: Ventura plays the determined and competent cop with a bluffing realism, and Serrault's nervousness and confusion, powerful convey the idea of a man who's not acting natural. It takes some super-human acting strength to naturally play a non-natural character. As the session progresses, it becomes obvious that Martinaud can't afford an alibi, yet it's also obvious that Gallien doesn't want to be misguided by this obviousness.

And in fact, even the film seems to be governed by a sort of deliberately misguiding impression, as if it was manipulating us like Martinaud seems to manipulate his audience. Indeed, "Garde à Vue" strikes by an astonishing minimalism: It's a film of a few words, a few scenes, a few actors, but each of these elements is perfect and doesn't ask for more. Directed by Claude Miller and written by one of the greatest French screenwriters, Michel Audiard, "Garde à Vue" is a film that meticulously concentrates all the elements of greatness that make the best cop/thrillers and elevate it to another dimension. More than a cop/thriller, "Garde à Vue" is a remarkable character study where the flaws of its main character are highlighted by a confrontation with a totally opposite personality. We look at Martinaud from Gallien's perspective, then from his wife's, and we try to find out by ourselves not if he's guilty or not guilty but what kind of man, he really is.

Like another minimalist masterpiece, "12 Angry Men", "Garde à Vue" is an intelligent introspection into the way human personalities from different backgrounds can interact in their quest for facts and truths. How intelligence and the conscience of one's own failure and mediocrity can work as a mask to disguise emotions. And the film is full of them, the questioning starts in a very polite way. Progressively, Martinaud expresses his displeasure to be taken in an interrogation room while everyone celebrates the New Year's Eve. But he's incapable of providing an alibi, and therefore slips into the suspect n°1 category. Belmont believes he's guilty and tries to get the confession the easy way, by slapping Martinaud around when Gallien is absent. But it doesn't work, Martinaud oscillates between a state where he asserts his rights and others where he falls in his miserable condition, convinced that he's only accused by people because they're as mediocre as him and can't stand the idea of a mediocre man succeeding.

And 'mediocre' is an epithet that fits Martinaud, thanks to Serrault's magnificent capability to play ambiguous and double-faced characters. He masterfully embodies this category of men, apparently successful and wealthy but living a totally miserable life, they're by essence misleading persons, because their very lives give the wrong impression. The film embarks us in a succession of facts and sordid details about Martinaud's marital life incarnated by a long corridor between him and his wife, it's not infidelity, not impotence, but it's pure nothingness. Martinaud's sexual tendencies, pointing a more and more accusing finger, are the reasons behind the failure of his marriage, but Gallien still can't see where this is leading. He feels he's being manipulated by emotions, not realizing that these emotions can give serious clues about Martinaud's eventual motives. But he's afraid of having wrong impressions and desperately asks for an alibi and a confession. But how can you ask such a clear question to a man so full of contradictions. In a way, Gallien is manipulated by his own fear of being manipulated.

That's the masterstroke of Michel Audiard, the film doesn't let itself embark by obviousness, there are facts, there are motives, there are proof but human relationships predominate above all these considerations. And even a practical man like Gallien can get the wrong impression, even from facts.. The writing and the editing, swinging back and forth between the interrogation, the crime settings and Martinaud's background create the enthralling feeling of a puzzle whose pieces reassemble. But it's the kind of puzzle that you only know the picture after reassembling them, you can't have a clear idea even when you come close to the heart-pounding conclusion. And the acting and directing contribute to a very realistic feel. The interrogation room is not too threatening, there's not a suffocating atmosphere aggravated by a terrorizing inspector. No, Gallien is relatively calm and tolerates Martinaud's outbursts with an impressive patience. Everything is handled as humanly as possible.

The film won four deserved César (French Oscars) for Best Actor (Serrault), Best Supporting Actor (Marchand), Best Editing and Best Writing. I was surprised to see that Lino Ventura wasn't nominated because his performance made of calm and quiet strength was not only spectacular in its nuance but indispensable not to let the film become caricatural. Never mind, every single element works perfectly and it's one of the greatest French thrillers.

Police, investigations, murder, suspicion: we are all so acquainted with them in movies galore. Most of the films nowadays deal with crime which is believed to involve viewers, to provide them with a thrilling atmosphere. However, most of thrill lovers will rather concentrate on latest movies of that sort forgetting about older ones. Yet, it occurs that these people may easily be misled. A film entirely based on suspicion may be very interesting now despite being more than 20 years old...it is GARDE A VUE, a unique movie by Claude Miller.

Is there much of the action? Not really since the events presented in the movie take place in a considerably short time. But the way they are executed is the movie's great plus. Jerome Charles Martinaud (Michel Serrault) is being investigated by Inspector Gallien (Lino Ventura) and Insector Belmont (Guy Marchand). It's a New Year's Eve, a rainy evening and not very accurate for such a meeting. Yet, after the rape and murder of two children, at the dawn of the old year, the door of suspicion must be open at last. In other words, (more quoted from the movie), it must be revealed who an evil wolf really is. To achieve this, one needs lots of effort and also lots of emotions from both parties...

Some people criticize the script for being too wordy. Yet, I would ask them: what should an investigation be like if not many questions and, practically, much talk. This wordiness touches the very roots of the genre. In no way is this boring but throughout the entire film, it makes you, as a viewer, as an observer, involved. Moreover, the film contains well made flashbacks as the stories are being told. Not too much and not too little of them - just enough to make the whole story clearer and more interesting. The most memorable flashbacks, for me, are when Chantal (Romy Schneider), Martinaud's wife, talks about one lovely Christmas... But these flashbacks also contain the views of the places, including the infamous beach. It all wonderfully helped me keep the right pace. And since I saw GARDE A VUE, I always mention this film as one of the "defenders" of French cinema against accusations of mess and chaos.

But those already mentioned aspects may not necessarily appeal to many viewers since they might not like such movies and still won't find the content and its execution satisfactory. Yet, GARDE A VUE is worth seeing also for such people. Why? For the sake of performances. But here don't expect me to praise foremost Romy Schneider. GARDE A VUE is not Romy Schneider vehicle. She does a terrific job as a mother who is deeply in despair for a lost child. She credibly portrays a person who is calm, concrete, who does not refuse an offered cup of tea but who does not want to play with words. Her part which includes a profound talk of life and duty is brilliant, more credible than the overly melancholic role of Elsa in LA PASSANTE DE SANS SOUCI. It is still acted. However, Romy Schneider does not have much time on screen. Practically, she appears for the first time after 45 minutes from the credits; she, as a wife and a different viewpoint, comes symbolically with the New Year, at midnight. Her role is a purely supporting one. Who really rocks is Lino Ventura. He IS the middle aged Inspector Antoine Gallien who wants to find out the truth, who is aware that his questions are "missiles" towards the other interlocutor but does not hesitate. He is an inspector who, having been married three times, is perfectly acknowledged of women's psyche. He is the one who does not regard his job as a game to play but a real service. Finally, he is a person who does not find it abnormal to sit there on New Year's Eve. Michel Serrault also does a fine job expressing fear, particularly in the final scenes of the movie. But thumbs up for Mr Ventura. Brilliant!

As far as memorable moments are concerned, this is not the sort of film in which this aspect is easily analyzed. The entire film is memorable, has to be seen more than once and has to be felt with its atmosphere and, which I have not mentioned before, gorgeous music. For me, the talk of Chantal and Inspector Gallien is the most brilliant flawless moment. You are there with the two characters, you experience their states of mind if you go deeper into what you see.

GARDE A VUE is a very interesting film, a must see for thrill lovers and connoisseurs of artistic performances. New Year has turned and...is it now easier to open the door? You'll find out when you decide to see the memorably directed movie by Claude Miller. 8/10

Lino Ventura, M. Serrault and Romy Schneider. What else can you say? And Guy Marchand (from the seedy detective series "Nestor Burma"). The script flows like a clockwork orange, of course aided by Serrault, who could make rocks weep, laugh and commit suicide. Lino Ventura is believable, almost likable, as a tough cop who "doesn't really care who gets nailed" but can't forget the young victims, and won't be distracted from a suspect even if he's got style and wit.

Why does the ending disappoint? Probably a tad melodramatic and manipulative, it doesn't harm an already superb film. It only makes it far from perfect. I agree with IMDb's reviewer "Taylor, from Ottawa" that "night scenes in a steady rain" by Bruno Nuytten create the perfect oppressive if somewhat awkward climate, necessary for this theatrical plot to unfold. Enjoy, if possible on a damp night :)!

PS: The remake "Under suspicion"... Hackman is fine, but can't reach Michel's subtlety and yet how disagreeable he can be; he seems born for this "gifted neurotics" roles. Monica Bellucci is nice, but cannot carry the nostalgia Schneider exudes. W. Chisholm's review on Amazon is right she shows Visconti's training. Adaptations should only be made when improving on the original, don't you think :)?

At the beginning of this movie, while credit titles are still running, you are immersed in an atmosphere that mix your feelings, with dark winter night, clapping rain on windows and a marvelous music (composed by Georges Delerue) which evoke merry-go-round, barrel organ and festive childhood.

And then the music stops and you enter in an austere police office for a questioning on the murder of two children.

No show off. No special effects. Dialogue.

And you discover how sad and lonesome adults can be sometimes in their games or duties.

Excellent movie.

Those who watch French films either to improve their knowledge of French cinema or to learn subtle nuances of French language cannot remain indifferent to the charms of the great French actor Lino Ventura. There is some kind of "JE NE SAIS QUOI" type of quality in him which makes him stand apart from the usual group of French actors. Garde à Vue sees him paired against Michel Serrault who is also considered as one of France's important actors.This entire film is their indispensable vehicle to deliberate about justice,law and unusual methods of police procedures.A deft cat and mouse game with limited movement could be considered as this film's apt description.In the midst of these two towering figures,there are also some minor figures who steal the show on their own.Director Claude Miller achieves this effect by casting Guy Marchand as a police inspector and Romy Schneider as the main suspect's wife.The dialogs penned by Michel Audiard have a certain kind of literary aura to them.This is one reason why viewers would be more interested in pricking up their ears in order not to miss any line.Film critic Lalit Rao saw this film during Franco-German mystery and thriller film festival organized by Alliance Française de Bangalore and Goethe Institut in 1992.

Nothing revolutionary here; just impeccably elegant, restrained cinema.

GARDE A VUE is confined almost exclusively to a drab police station, and mostly to one interrogation room, but director Claude Miller (who made the wonderful film THIS SWEET SICKNESS, among others) intercalates spare glimpses of exterior tableaux as minimalist locale scenography. Miller's restraint, especially early on, is breathtaking, and his exquisite handling of the consequently-pivotal interior mise-en-scene makes for captivating viewing.

Lino Ventura is superb as usual, succeeding to legitimize a character that, on paper, is cliche: the laconic, hard-nosed, world-weary homicide detective. Ventura lives the role, making it completely believable, even though the script allows us little access to his inner workings; the film ends at the very moment it appears he will be forced to confront his failure for the first time.

Michel Serrault is equal to the task as the suspected child-killer who shrewdly spars with the single-minded flic. The exchanges between the two are more-often-than-not pregnant with tension and the aura of a constantly metamorphosing playing field for a battle of wits. Serrault's character is by turns deplorably haughty and cunning, and pitiable; then later....

The "message" of GARDE A VUE, if one were to search for one, is a condemnation of police methodology and the kind of pressures that make a cop over-zealous to, if necessary, close cases at the expense of justice. For most of its length though the film shines as nothing more than an exemplar of how to turn a potentially soporific set-bound scenario into a suspenseful drama of the utmost cinematic economy.

A masterpiece. Every line and every scene. The opposite of Hollywood, a lifelike movie. Simple, complex and authentic. All actors are legends of cinema. Well, those movies are things of the past. A true gem that most will not understand anymore.

Though the story is essentially routine, and the "surprise" ending is nothing but a bad joke on the audience, you can see what attracted these good actors to the project - it offers them the kind of roles in which good actors can shine, and shine they do. The film is impeccably made - for its time. It was remade in 2000 as "Under Suspicion" and if you only want to see one version of the story (that's all it deserves, really), I recommend the latter one, with Hopkins' up-to-date direction and the more explicit references to plot points that the original could only hint at. The ending, however, still blows. (**1/2)

Compelling psychological crime drama mainly consists of conversations enlivened by the excellent performances and reveals a fascinating and shocking mystery with a devastating ending.

Fine piece of a psychological approaching over the veteran police Inspector Gallien (Lino Ventura) and the suspect Jerome Martinaud (Michael Serrault) of two murders and rapes of two young girls, under pleasure by the skilled Gallien who impose an strategic guideline to extract a confession, in other hand the smart Jerome an old man with a failed marriage has to answer the several double meaning questions, the cold and stiffing atmosphere on the room at the police precinct is extremely grueling for both and more to the viewers neither, even having break a couple times in between when it's back starts all over again, until a key witness appears, Jerome's wife, Chantal Martinaud (Romy Schneider, how was beauty yet) the accused refuses meeting her, then Gallien has a private conversation on a separate room, after a long talk at last the convinced Inspector has a card hidden on his sleeve, even never hearing nothing over the Director Claude Miller, he made a fabulous and complex picture, when you suppose that all are settled, then goes a crowning surprise, according my feelings both Lino Ventura and Jean Gabin were the greatest French actors of all times and this picture states that, also Serrault deserves my greetings for such performance!!!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD/ Rating: 8.75

Miller is not well known in North America. He made a superb first feature called La meilleure facon de marcher, about two young instructors at a summer camp. One terrorizes the other with insults and physical abuse designed to provoke a homosexual response. The typical Miller film has a central figure under a lot of pressure, either self-imposed or coming from others. Here we have a rich lawyer (Serrault, so wonderful in La cage aux folles) accused of raping and killing two young girls. He is being interrogated on New Year's eve in a sterile office by two detectives who would rather be out celebrating.

As the night wears on, Serrault becomes more and more frustrated and anguished since the questioning turns as much on his married life as on his alibis for the two girls. His marriage is a sham; his wife married him for his money and they haven't made love in ten years. Romy Schneider made a great cameo as the wife resigned to her wretched, loveless but upwardly-mobile arrangement. She died soon after the film was released.

The main characters are all superbly played. Guy Marchand is the dumber of the two cops; he's sweating under the lights and hates the accused man even more for his veiled insults. Lino Ventura plays Gallien with a fine combination of tact and anger. He can't forget the photos of the victims.

I'll just mention Bruno Nuytten's fine camera work; the night scenes in a steady rain are well done. This is one of the finest crime films from France and should be widely seen.

The genre known as the 'police procedural' has been around since Wilkie Collins in the late nineteenth century and has reached the heights cinematically with Clouzot's 'Quai des Orfevres' and the 'High and Low' of Kurosawa.

We owe a debt of thanks to brilliant screen writer Michel Audiard, himself no stranger to this type of material, for spotting the potential of John Wainwright's novel 'Brainwash' from 1979. Audiard also contributes dialogue to this adaptation, thereby ensuring that the characters have plenty to say!

Wainwright, a private and taciturn Yorkshireman who described himself as a 'teller of tales and nothing more', is, alas, pretty well forgotten now. He acknowledged his admiration for Ed McBain's '87th Precinct' series whilst the authenticity of the interrogation methods in his books stems from his having been a policeman for over twenty years!

One of the many joys of French cinema is its emphasis on character rather than plot and here Claude Miller has the golden opportunity of directing his four main protagonists in a confined space. The darkness outside and the rain lashing at the windows merely serve to heighten the tensions.

Needless to say, a film like this only works if one is absorbed by the characters. How could one fail to be when these are played by Lino Ventura and Guy Marchand as 'good' cop and 'bad' cop respectively, Michel Serrault as the suspect and Romy Schneider as his wife?

This is film acting of the highest quality in which the psychological penetration and ever-changing dynamics are utterly riveting. Serrault deservedly picked up a César for his portrayal. He has the showier role of course whilst the customary 'little is good, less is better' performance by Ventura is mesmerising. Guy Marchand's depiction of 'brawn over brain' is effective. Romy Schneider once again tugs at the heart strings. Her death the following year and the deep sadness that preceded it, makes her performance, in retrospect, even more touching.

The ending, for some, is a little too 'convenient' but is no less powerful for that.

The critical and commercial success of this piece gave Claude Miller a much-needed boost as his directorial career had been in the doldrums.

Twenty years were to elapse before Hollywood filmed the obligatory remake. The result wasn't worth the wait!

'Garde a vue', made in 1981, brings together on screen two of the super-stars of French cinema from the '60s and' 70s, each of them in one of their last films, although neither their age nor their artistic form indicates anything about the close endings. Romy Schneider was in her penultimate film, she would die a year later, at only 43, with a heart weakened by illness and by the various excesses of her short but intense life. Lino Ventura was 62 years old when 'Garde a vue' was filmed, he would make six more films (including a formidable Jean Valjean in 'Les Misérables') but he would also leave this world relatively quickly, in 1987. The film's director, Claude Miller was not very young, but this was only his third movie. But what a movie! 'Garde a vue' describes a few hours of interrogation in a police station, but the seemingly trivial investigation and confrontation between the police and the suspect develops into a subtle game of forces and a gradual revelation of layers of reality that do not necessarily lead to the knowledge of the truth.

The formula is classic. Inspector Antoine Gallien (Lino Ventura), apparently a conscientious bureaucrat of the police, proves to be intelligent and able to use any means to obtain the confession of the main suspect in the rape and the murder of two eight-year-old girls. Lawyer Martinaud (Michel Serrault), rich and arrogant, seems to the audience the perfect suspect, not only because of social class differences but especially because he gets into trouble with a tangle of lies that seem to aim not so much to prove that he is innocent, but rather to defend a moral reputation that erodes as the investigation progresses. And if summoning the suspect on New Year's Eve is not enough, the police will use two more means of pressure - the judicial procedure called 'garde a vue' which allows the suspect to be detained for questioning without the presence of a lawyer, and the testimony of Martinaud's wife (Romy Schneider) whose relationship with her husband has been marked by trauma since the beginning of the marriage.

The screenplay (which adapts a novel 'serie noire' by American writer John Wainwright and moves it into the French police and judicial reality) manages in an extremely subtle way to make us advance in the knowledge of the psychology of the characters and highlights the relativity of the notions of truth and justice. The crimes that Martinaud is suspected of are horrible and would justify almost any method of finding out the truth. But is what we see and what we hear the truth? Not even at the end of the movie can we be 100% sure of that. Moral judgments are not equivalent to judicial reality. What we see on the screen is a version, but we will never know for sure what happened. Confession does not necessarily mean guilt either. Ventura and Schneider's acting performances are remarkable, but the most intense creation belongs to Michel Serrault, who embodies a character who tragically breaks apart in front of our eyes. The dialogues and situations have consistency and credibility, and this drama, which takes place mostly in a police investigation room, manages to involve us far beyond the experience of a routine crime drama.

Lino Ventura of all the great French actors never ceases to amaze. He's not the type who one would expect to be an intellectual's actor. He showed glimmers of this cerebral quality in his early film Marie October probably because of his stage experience. The general public may perceive him as the gangster or the heavy but this film is all about a man thinking. Not an easy task for an actor or director. Here it comes off perfectly and keeps the viewer absorbed and on edge waiting for a climax that hits like an off-speed pitch. Schneider is poignant and maturing into another Signoret if she didn't pass away at such a young age. Michel Serrault as an unwholesome protagonist never becomes a cliche and provides complexity to the detective's doubts and beliefs. Bravo!

An excellent French psychological Thriller directed by Claude Miller starring Lino Ventura, definitely one of those Hidden Gems... A must See.

Why would a man - a notary public, to boot, so a man knowledgeable about law - confess to murdering two children if he did not do it? Perhaps it has to do with some roughing up from police inspector Lino Ventura's sidekick Guy Marchand during his boss' absence.

GARDE À VUE, a legal position whereby if you are suspected of the commission of a crime you are remanded in police custody without being officially under arrest, and can be interrogated, has to do with the techniques used by police to get a suspect to confess. In this case, Ventura lies to notary public Michel Serrault's wife, Romy Schneider in her penultimate film, saying that her hubby does not want to see her. In doing so, he hopes to milk some info out of the wife that will further paint Serrault into a corner. The latter begins rather haughtily but in the end comes across as rather dumb for failing to take what he knows the law can afford him: the possibility of legal counsel and refusal to comment or answer.

Ultimately, the truth is that just as police can resort to mendacity for results, so can a man under pressure lie if he feels that control is slipping from his grasp (though I would never admit to a crime I did not commit, so I have considerable difficulty accepting that anyone of sound mind would do so).

Ultimately, all that official deceit carries unexpectedly high costs. For Schneider, who in real life had recently lost her son in a most unfortunate accident, this must have been a very tough role to play, but she does it convincingly.

Different take on the law in a different culture, certainly nothing to do with 12 ANGRY MEN, or even attempting to come anywhere near its quality in all departments, it emphasizes claustrophobia, and how police authority can distort innocence into guilt, and transform law into crime. GARDE À VUE remains well worth watching. 8/10.