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Top 10 films by Jean-Pierre Melville; French director in love with American cinema (filmmaker under a magnifying glass)

BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass) Jean-Pierre Melville is one of the greatest filmmakers in the history of French cinema and one of the greatest filmmakers in the history of cinema. If you have in mind a room full of the greats of French cinema who are socializing together, people like Franois Truffaut, Jean-Luc Godard, Jacques Riot in one corner, people like Marcel Carn, Jean Renoir or Julien Dovier in one corner and Newer ones like Gaspar Noe and Julia Ducorno are gathered in another corner. But surely one with those always black glasses and an American hat sitting alone in a cozy corner, thinking in the bright shadows around him of a robbery or betrayal of a member of the group; That only person is Jean-Pierre Melville. In this list, we have reviewed 10 important films of this French-style director.
  • 250 Top directors in the history of cinema

Jean-Pierre Grombach because of his great interest in Herman Melville, the American author and creator of Moby Dick, changed his name to Jean-Pierre Melville. From here, one can see his interest in the culture of the people on the other side of the world, as well as in the cinema there. In many of his films, Melville created the lives of people who plotted to steal or commit illegal acts in the shadows and shelters, and he carefully established relationships between them. In this way, he created both brilliant and engaging cinema and explored life under the skin of his country after World War II. Used to make them, and in a way opened American cinema to the streets of French cities. In his films, there are many contrasting and foggy scenes from the streets that create a suffocating feeling in the audience, as well as sad cities and gloomy people who have reached the bottom of the line. Men seem to have nothing to do but sit and stare at the scary face of death, and women seem to be ready to pave the way for them. That is why French audiences and critics sometimes saw Jean-Pierre Melville as someone whose brain was not in tune with the streets of Paris, but with the streets of Los Angeles and New York or San Francisco. But such a trivial view of his cinema is not only an injustice to the filmmaker himself, but also an injustice to a large part of the history of French cinema.

  • Top 15 films by Billy Wilder; From comedy to bitter noir, Jean-Pierre Melville is rightly the spiritual father of the new wave in French cinema. He was the one who took the first steps to make different films in his country by making the film Extinction of the Sea, and he also made great contributions to young directors. It was he who, before the films of Claude Chabrol and Franois Truffaut and Jean-Luc Godard, made the film The Gambler, which contained many components of production and, of course, New Wave form. While his crime films are reminiscent of classic American cinema, they are also deeply French; The sad atmosphere, the minimalist stories, the death-conscious characters who somehow know the bottom line of their lives and believe in certain moral principles, and of course the uniqueness of objects such as guns or hats, signify a non-American and strongly European cinema.

    In addition, he is the creator of works such as Army of Shadows, Black Sea and Children of Horror. What is more French and patriotic than the Army of Shadows movie? Or what film can better portray the resistance of ordinary people against the occupying army of Nazi Germany than the film of the Black Sea? It is thinking about all this that makes us evaluate his cinema not only from one aspect, but also from different angles.

    Rainy streets, blue domination of space, rooms full of cigarette smoke, women from Dangerous and, of course, seductive, men in hats with their raincoats over their necks and smokers at the corners of their lips, cafes full of spies and informants, and a deeply modern monotony are the hallmarks of this cinematic filmmaker. His people show themselves less in the light and more often in dark corners and under the light of a lamp at night.

    Jean-Pierre Melville worked with great actors during his career. Lino Ventura is one of those who has probably played the most important role of his life in the movie Army of Shadows, and of course, he has a thrilling movie like Nafs with this filmmaker again. Jean-Paul Belmondo is another big actor on the list, and his role in The Hat and Leon Morin is one of his best works. Yves Montand, Simone Signora and others have shone in Melville's cinema, but no actor is as reminiscent of Jean-Pierre Melville's name as Alain Delon. Although the number of collaborations between the two is not large, if Alain Delon had played only the same role as Jeff Castello in the film Samurai and Melville had not appeared in any other film, it would still be enough to become the icon of Jean-Pierre Melville's cinema. Today, Jean-Pierre Melville is one of the sources of inspiration for film directors. People like Jim Jarmusch or Quentin Tarantino have clearly paid homage to him and his cinema, and others like Rainer Wenner Fassbinder or Aki Korismaki or even Michael Mann have been influenced by his filmmaking process.

    10. The Terrible Children

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Actors: > Nicole Stephanie, Edouard Dermit
    • Product: 1950, France
    • IMDb movie rating: 7.1 out of 10
    • Movie rating on Raton Tomitoz: 77.

    Jean-Pierre Melville's Children of Horror from a book by Jean Cocteau, another filmmaker/Poet/Made by a great French writer. Of course, Jean Cocteau himself was involved in the process of this adaptation and its transformation into a screenplay, and the voice of the narrator is also from him. After Jean-Pierre Melville limited the successful film Black Sea with that production and, of course, achieved great success, he gained fame and this led him to collaborate with Jean Cocteau. Children of Horror may be more of Cocteau's worldview than Jean-Melville's vision for the future, but that does not mean that there is no question of his bizarre ability to create space and create an environment.>

    The story of Children of Horror is a fateful story. The characters in the film are captivated by living with each other, and it seems that there is no other choice that has led them to such a life, but that is not all, and the creators have another plan in mind. From time to time, relationships are formed in the film that seemingly evoke rebellious emotions, but strangely none of the people are able to express these emotions. It was as if something had blocked their throats so that they could not speak. This inability leads to the creation of bitter tragedies that make up the body of the film. The reason for their presence together is more out of necessity than it is a sign of their desire and desire, and that is why in the end, in that big house, they immediately separate and there is no more news of the former way of life together. It seems that the suffocation of the first house also had a positive point, and that is that it has brought people closer together.

    Children of Horror is a very bitter film. It is as if its foundation is based on death. From the beginning to the end of the film, people die in the film, and this continues until it is the turn of the main characters. It is as if a hand hides behind it and leads them to a heartbreaking death. This stare at the face of death and the struggle with it is present in both Jean Cocteau's cinema and later in Jean-Pierre Melville's films. But there is a difference; Death has a fantasy and abstract aspect in Cocteau's cinema and is a continuation of life, but in Melville's cinema it means nothingness and nothingness, and of course the determination in it has given it a scary face; Melville's movie heroes take away a corner of street life and a part of the city with their deaths. Sometimes the brother is the main character and sometimes the sister and sometimes the story belongs to two other people. But there is a fifth person in the film who is as influential as these, or perhaps most of all, in the drama process; A person who appears only at the beginning and end of the film and the shadow of his actions weighs on the whole film, and even the ending is made worse by his behavior. did. There he made brilliant use of silence and expressed all his emotions through his innocent face. Now, keeping that emotion secret has led him to act more experienced in displaying repressed emotions this time. However, at the beginning of the film, he is also successful in showing strong emotions, especially towards his brother.

    "Paul and Elizabeth have recently lost their mother. One day, Paul has an accident at school and then it turns out that he has a previous illness. For this reason, he spends most of his time at home and in a room shared with his sister. Brothers and sisters can not be separated from each other and this has made them dependent on each other. Gradually, two more friends are added to the house and live with them. Friends with letters from Gerard and Agate. Gerard becomes interested in Paul's sister Elizabeth and Paul in Agate, but neither is able to express his interests. Until

    9. A Police (Un Flic)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Cast: Alain Delon, Catherine Deneuve, Richard Serna and Michael Conrad
    • Product: 1972, Italy and France
    • IMDb Score: strong> 7.1 out of 10
    • Movie ratings on Raton Tomitoz: 81.

    Allen Delon has previously starred in Red Circle and Samurai He played the role of a criminal for Jean-Pierre Melville. But this time Melville hired him as a cop and chose the name of the film with an emphasis on his role; A policeman who seems to have nothing to do but do his job, and the arrest of the other side of the story, which is reminiscent of Delon's own past plans for Melville, has become the whole meaning of his life. From this point of view, both the name of the film and the choice of Alain Delon to play the role have a hypertextual meaning, which refers to the filmmaker's entire career, especially his collaborations with the actor.

    Jean-Pierre Melville Certainly, criminal and police dramas have been called in French cinema and, of course, in the world. A director with a style that made great characters and a story about them that are still unparalleled in the history of cinema, and his noir films, unlike American examples, were accompanied by a calm rhythm and, of course, a very cold and sad atmosphere in which no one speaks. And the story progressed through the image and soundtrack of the film. More than any other director in French cinema, Melville knew the dangers of the street, and unlike others, he saw neither news of love nor a beautiful image. This is not only strange but rare for someone whose important part of the story takes place on the streets of Paris.

    A Police Officer is Jean-Pierre Melville's latest film as a director. Given the above, this film is a little different from the rest of his career in the crime genre, of course. It is as if this important filmmaker intended to try something new; The film's story, unlike his usual masterpieces, is full of ups and downs, not minimalist and minimalist. Here dialogues play a key role in advancing the story. Of course, in the themes and concepts of the film, a policeman is exactly the continuation of the work of Jean-Pierre Melville.

    Alain Delon appears in this film in the role of a policeman. He has been able to paint different aspects of the role of this man, and of course, Richard Serena has played the role of the negative pole of the story well. But what creates the atmosphere of the film and gives Melville's usual works a cold effect is the story of a woman who finds herself between two men with two different spirits. The role of this woman is played in a wonderful way by Katherine Denovo. Although Alain Delon has a lovely history of working together with Jean-Pierre Melville, this latest film should be considered one of Carter Denove and his unique role. The emotional burden of the story is practically on his shoulders.

    The film A Police is a good work to end the career of one of the greatest filmmakers in the history of cinema. Although it does not catch up with films such as Army of Shadows or Le Samourai, both thematically and formally, the ending is a battle for one of the best cinematic worldviews.

    A cop is also known as dirty money because it was screened under the same name in the United States. It has been said that this work differs from the conventional noirs of Jean-Pierre Melville's career, but this does not mean that nothing can be found in the always sad atmosphere of his work. The film of a policeman has a sad and of course bitter look at human life in modern society, and Melville is still not interested in ransoming his audience at the end of his films.

    The image that the film shows from both sides of the story, especially the police Gives many of today's movies a cinematic reminiscent of cinema. It is not unreasonable to consider the character of Al Pacino in the film Heat or some of the important police officers who have invaded their professional and private lives over the years, influenced by the role of Alan Delon in the film.

    In a small town, a bank robbery takes place. One of the thieves was injured during the robbery. It is slowly becoming clear that this robbery is in fact a prelude to doing something bigger, and another robbery is on the way. On the other hand, the police intervene to stop the criminals. From now on, the film becomes the battle of a clever police officer and a capricious leader of criminals

    8. The Silence of the Sea

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • Actors:
    • Product: 1949, France
    • IMDb movie rating: > 7.6 out of 10
    • Movie rating on Raton Tomitoz: 100%

    Sea Extinction is the first feature film by Jean-Pierre. Melville. Melville adapted it from a book of the same name by Jean Brule, nicknamed Workor, and made it in his own home. Jean-Pierre Melville had fought as a soldier during World War II. For this reason, the issue of the resistance of the people of his country during the war was an important and vital issue for him. After returning from the war, he was unable to pursue a career in filmmaking, and the situation developed in such a way that he failed to obtain the necessary licenses. So he picked up his camera and set to work on his own, raising funds and making a film about the sea. Silence of the Sea is also the first film in his trilogy focusing on the French people's resistance to the German occupying army. The story is told from the point of view of a German officer who, according to the orders of the Nazi army, lives in a French house with a French family during the war. As soon as he arrives, he notices the deadly silence of the family (an old man with his nieces) who have seriously decided not to say anything during the presence of the German officer. In this way, they protest against the occupation, and this slowly influences the officer's point of view.

    The German officer is a man of art and culture. He thinks that the main reason for this war is the unification of Europe and the integration of cultures in order to build a superior culture; He mistakenly thinks that war can preserve, integrate, and eliminate the cultural good of any country. But Tir gets rid of his thoughts when he realizes that this is not the goal of his country's army, and that basically no war can achieve such an achievement.

    His optimism is linked to the heavy silence of the other side. The narrative of the story expresses the result of the opposition of these two different methods to the audience moment by moment. From time to time, Melville works to make every word, every sound, and every word have a meaning beyond a simple speech, and he does so by properly paying attention to the silence that prevails in space. The characters are immersed one by one in the game they started from the beginning, and the loser is the one who does not understand the importance of this resistance of the people of a country.

    Just like a French film, just a few years after World War II The second is to deal with the subject of war, in which there is no mention of evil and bloodthirsty Germans, and to try to present a human image from the other side is brave enough, let alone to choose the main character of the story as a German officer. Jean-Pierre Melville did this and made a calm work in which, although no one is killed or there is no conflict, a great battle is going on in the heart of it and it is very effective; Because it reveals the horror of war and shows that this ominous phenomenon has nothing to do with pride and patriotism. The German officer chants slogans about the love of art and the need for the unity of the two nations of Germany and France, and thinks that at an important point in history he has been given a historical task, but he does not know that the nature of war is more absurd than he imagined.

    On the other hand, the French family, aware of their position, takes a cultural solution to the military defeat to bring the other side to its knees. For these two people, resistance does not mean secret work or sabotage, but it means not approving the actions of the other party, not cooperating with the occupier, as well as ignoring his presence and doing daily life; As if nothing had happened and life goes on as before.

    Jean-Pierre Melville has created a brilliant atmosphere for his film. The suffocating atmosphere of the house is well built and its roof is heavy on everyone, especially the German officer. It is this creation of a suitable atmosphere that makes that final rubble on the German officer well understood by the audience. In addition, the film's lighting and mezzanine, especially during the officer's presence, are particularly reminiscent of post-World War I German expressionist cinema.

    The actors' acting is also excellent. Howard Vernon plays well as a cultural occupant who is both terrifying, and Nicole Stephanie has the ability to convey different emotions with her eyes despite not using words. He later did the same in The Children of Horror, becoming Jean-Pierre Melville's winner for both films. To understand this, it is enough to look at the fact that in his eyes there are different emotions such as fear, love and of course pity at the same time.

    Was placed next. The New Waves later realized that they did not need anyone's permission to make their own film, and only needed interest in cinema and perseverance to pick up their camera and make their own film.

    "1941. . . . .

    7. (Second Breath)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1966
    • IMDb : 7.9 10
    • : 100

    . . .

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    .

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    6. (Le Doulos)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1962
    • IMDb : 7.8 10
    • : 97

    . . . . .

    . . . 1940 1950 . le doulos .

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    5. (Leon Morin, Priest)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1961
    • IMDb : 7.6 10
    • : 96

    . . .

    . . . . .

    . . ( ) . .

    . (breathless) . . . . . .

    . . ( ) .

    . . . . .

    . . . . .

    4. (Bob the Gambler)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1956
    • IMDb : 7.7 10
    • : 97

    . . .

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    / . (oceans eleven) .

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    3. (Le Circle Rouge)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1970
    • IMDb : 8 10
    • : 95

    1960 . . . . .

    .

    : . . . . . .

    . : . .

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    . . . . . . . .

    2. (Army of Shadows)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1969
    • IMDb : 8.2 10
    • : 97

    . . .

    . .

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    : .

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    1940 . . .

    1. (Le Samourai)

    BingMag.com <b>Top</b> 10 <b>films</b> by <b>Jean-Pierre</b> <b>Melville;</b> <b>French</b> <b>director</b> in <b>love</b> with <b>American</b> <b>cinema</b> <b>(filmmaker</b> <b>under</b> a <b>magnifying</b> glass)

    • :
    • : 1967
    • IMDb : 8.1 10
    • : 100

    . ( ) . . . .

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Source: collider

Tags: top, films, jean-pierre, melville;, french, director, love, american, cinema, (filmmaker, under, magnifying, glass)

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