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This film seems to be the most revered of Alain Delon's career. He has almost no dialogue but takes us through the details of preparing an alibi, making a hit, and escaping the clutches of the police by cleverness and a tattle-tale bird.
This is one of the first films that shows the mechanics of a crime and how the police handle it. François Périer shone as the intelligent and calculating chief inspector determined to capture Delon.
Released in 1967, I noted two brand-new Chevy Camaros in street scenes. One was driven by the pianist. Imagine the fuel cost to drive American pig iron in Paris.
SPOIL ZONE
I have a question. I never understood why the pianist aided and abetted Delon. Even more so, why she was the last target? Anyone recall what your impressions were of the motives?
Follow Ups:
Two women help supply his alibis. A woman named Jane loves him, we guess, although she has a rich lover and Jef knows it. (She is played by Nathalie Delon, his real-life wife.) The other woman, a black musician named Valerie (Caty Rosier) who plays the piano in the nightclub, lies at the lineup and says she has never seen him. But she knows she has. Is she lying to help him? Or because she knows the men who hired him, and knows they do not want him caught? This question weighs on Costello's mind after he is betrayed by his employers, and he goes to see the piano player, who is utterly fearless even though he might kill her. Costello's women seem to reflect his own existential detachment: He does his job, he functions at the top of his ability, he has no values, he is a professional, there is no room for sentiment in how he lives.
fwiw...
Perhaps the same group wanted the pianist dead since they knew she could identify him at some later date. If Jef offs her, then they will off him to close the loop. Perhaps?
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