A previous reviewer has referred to Alain Delon as an ' ageing pretty boy'. Time stops for no one of course but it takes more than just a pretty face to maintain a film career as long as his. Joseph Losey, who directed him in 'Monsieur Klein', remarked on his complex nature. This and his air of unpredictability makes him watchable whatever his material. Now in his eighties I am sure he looks back with pride on the films he made with Visconti, Antonioni, Clement, Melville, Verneuil and Cavalier.
It is probably best to draw a discreet veil over many of his later films although he excelled as Mr. Klein, was awarded a well-deserved Cesar for 'Notre Histoire' and played both Baron de Charlus in 'Swann in Love' and the title role in 'Retour de Casanova' despite being physically miscast in both.
So we come to 'Three Men to Kill'! The Michel Gefaut of Delon narrowly escapes death at the hands of assassins working for an organisation that seems to think he knows more about its shady dealings than he should but the tables are turned when the hunted becomes the hunter....... By far the most interesting characters are as always, the villains, played here by veterans Michel Auclair and Pierre Dux, who made their respective film debuts in 1946 and 1932! Both these actors convey so much by doing so little and Dux is gifted the best line: "Art is an indispensable futility." Subject for debate!
It is also nice to see fellow veteran Simone Renant in her last film role, as Delon's mother. Good performance from Christian Barbier as his buddy on the force.
The love interest is supplied by Dalila di Lazzaro who is adequate in the role.
Good production values, subtle score, utterly ludicrous plot and a customary car chase that has been done so much better.
Delon has produced and it is capably directed by Jacques Deray with whom Delon made nine films, of varying quality.
One should not approach this film with too many expectations for it is what it is: cinematic chewing gum.
It is probably best to draw a discreet veil over many of his later films although he excelled as Mr. Klein, was awarded a well-deserved Cesar for 'Notre Histoire' and played both Baron de Charlus in 'Swann in Love' and the title role in 'Retour de Casanova' despite being physically miscast in both.
So we come to 'Three Men to Kill'! The Michel Gefaut of Delon narrowly escapes death at the hands of assassins working for an organisation that seems to think he knows more about its shady dealings than he should but the tables are turned when the hunted becomes the hunter....... By far the most interesting characters are as always, the villains, played here by veterans Michel Auclair and Pierre Dux, who made their respective film debuts in 1946 and 1932! Both these actors convey so much by doing so little and Dux is gifted the best line: "Art is an indispensable futility." Subject for debate!
It is also nice to see fellow veteran Simone Renant in her last film role, as Delon's mother. Good performance from Christian Barbier as his buddy on the force.
The love interest is supplied by Dalila di Lazzaro who is adequate in the role.
Good production values, subtle score, utterly ludicrous plot and a customary car chase that has been done so much better.
Delon has produced and it is capably directed by Jacques Deray with whom Delon made nine films, of varying quality.
One should not approach this film with too many expectations for it is what it is: cinematic chewing gum.