Choice of Arms

.. of superlatives. This, the last of the three polars that Corneau made top-billing Montand, finds Montand retired from the mob and roughing it with Catherine Deneuve in a large country chateau where they breed thoroughbreds. Such an idyll can't last, natch, so, before you can say 'make my day, punk', enter Depardieu, hothead extaordinaire, on the lam and looking for a soft touch. Eventually we need the obligatory scene in which the ageing gunfighter dusts off the old six-shooter and wastes the wannabee new fastest gun, except, of course, that this isn't a Western but a very sophisticated and hugely enjoyable polar.It doesn't get any better than Montand and Depardieu (who had worked together earlier in Claude Sautet's 'Vincent, Paul, Francois et les autres' and would do so again in 'Jean de Florette') and with Corneau on bullhorn what's not to like. Post-war French policiers/polars are in a class of their own and provided your nose is in good working order the whiff of cordite can be identified at once as generated by Jean Pierre Melville, Alain Corneau, Tavernier, etc. This one is right out of the top drawer and would BE a top drawer on any screen it graced. Go see! Enjoy!

... in France, of all places. Believe it or not, they actually showed this film on movie night in St. Martin de Re in southern France. I spent a few months there back in '83 as a temporary guest after an altercation with my book maker.

First of all, Catherine DeNeuve is delicious in this film, as always. Depardieu is superb, playing Mickey Le Dingue with a subtle touch that none of us were expecting. Guards and inmates alike, we cried at the sad parts and cheered on the criminals at the crime parts.

French prisons have gotten a lot of bad publicity of late due to the high suicide rate and the beatings or murders by the guards, and the knife attacks, and that's all true, but underneath the squalor and brutality and physical horror, there's beauty and art, and film and Mickey Le Dingue and Miss Deneuve. It was worth going to prison to see this movie.

Alain Corneau began as assistant to Costa-Gavras so it is only fitting that as a fully-fledged director he should work with Yves Montand. This fine actor had previously starred in 'Le Cercle Rouge' for Jean-Pierre Melville and of the three policier/polar noirs that Corneau and Montand were to make this last one is the nearest to the Melvillian style, in terms of pacing, atmosphere, its depiction of the criminal 'code' and the wafer thin distinction between the gangsters and the guardians of law and order. This is very much a man's world and a pretty cold and brutal one it is at that.

Montand is Noel, a former underworld figure who has used his ill-gotten gains to finance an extremely comfortable lifestyle as a breeder of thoroughbreds but is obliged by an unexpected train of events to revert to the law of the jungle. On the other side of the coin is the deranged psychopath and prison escapee Mickey of Gérard Depardieu who is humanised only by his love for his child which mirrors Noel's love for Catherine Deneuve as Nicole, his wife. Although their backgrounds and social milieus could not be more strikingly different, both men have more in common than they realise and ultimately(SPOILER COMING) the orphaned child becomes the indissoluble link between them. A further contrast is offered between the old school police chief of Michel Calabru and the intense, trigger-happy, fanatical young inspector of Gérard Lanvin.

This is a well constructed piece with a measured pace that allows the characters to develop and with an utterly riveting second half. It is beautifully shot by Pierre William Glenn, tautly scripted by former critic Michel Grisolia and atmospherically scored by Philippe Sarde.

Nicole is assuredly not the most demanding role that Catherine Deneuve has been called upon to play but the simpatico between her and the magnificent Montand is palpable and helps the film to work. They had earlier worked together on the rom-com 'Le Sauvage'. Likewise there could not be a greater contrast between this and her recent collaboration with Depardieu, 'Le Dernier Metro'. He is larger than life here but always 'true' which is a difficult balance to strike and as usual brings his air of unpredictability. Many have lamented that with maturity he has rather 'let himself go' but when Montand, who worked with him three times, referred to him as 'THE actor of his generation', he wasn't far wrong.

On the basis of a very traditional diagram, almost austere in its banality, Michel Grisolia, the scenario writer, gave his realizer a springboard from which this last built a true psychological drama, rich of subtle nuances and learnedly worked drafts. The police aspect interests less Corneau than the painting of the underworld, than the denunciation of the police methods or than the purulent proletarian company of today. The setting in scene is fantastic and remarkable is interpretation (Depardieu!), let us announce however a light Manicheism and certain doubtful psychological analyses.

'Choice of Arms' (the French title is 'Le choix des armes') made in 1981 is a very typical film for the genre of film noir in the French cinema of the 70s and 80s. The master of the genre was Jean-Pierre Melville who died in 1973, leaving behind only 14 films, but a few masterpieces among them. Alain Corneau, the director of 'Choice of Arms' was one of his followers. This film shows his professional qualities, and withstands the test of time, mainly due to its stellar cast.

This is the story of the aftermath of an escape from prison, of the mob milieu friends of the evaders who shelter and help them, and of the cops who are following them, a story that tragically turns bad and worse as it advances. As in many films of the genre, the two worlds - crime and law - are interlinked by sometimes invisible threads. In each of them two generations are confronted, the old generation of active or retired gangsters and policemen on one side, the young violent criminals and ambitious policemen on the other side. Corruption rules at all levels. Good intentions and human feelings hardly survive the pursuits and shootings.

The cinematographic production is quite minimalist. Part of the story takes place in the streets and on muddy country roads, with the street corners and intersections playing an important role in the action. Sumptuous villas and the overcrowded apartments in the 'banlieus' clearly separate the social categories. The color palette is very strictly controlled, the film could have been very well made in black and white. Gérard Depardieu plays here the role of a criminal, disturbed young man, anti-social beyond any hope, who destroys everything around, and first of all destroys his own life. Depardieu does not show yet the charisma and especially the humor that characterize many of his later great roles, he has moments of overacting, but the hopeless uncertainty and the aspiration to get out of the vicious circle of crime are excellently rendered. Yves Montand and Catherine Deneuve form a couple that seems to descend from another film, but precisely the contrast between his carved by life noble calm together with her vulnerable beauty and the brutal story and the acts of violence around manage to create drama and tension. The soundtrack is also very interesting. At times, the violins and sentimental melodies in the style of the 50s are used annoyingly, but in other jazz improvisations on guitar and soul music (Janis Joplin if I'm not mistaken) are a perfect match for what happens on screen. 'Choice of Arms' may not be Alain Corneau's best film, but it is worth watching or re-watching.