Jean Pierre Melville was an "einzelganger" in French cinema. He did not belong to the Nouvelle vague (although his career took place during the heydays of this movement), but he certainly wasn't a part of the "cinema du papa" (as the nouvelle vague directors derogatory described their predecessors) either. "Le deuxieme souffle" is not the most well known picture from the oeuvre of Melville, but it is a connecting link between the pure film noir of "Bob le flambeur" (1956) and the more abstract (but still film noir) films such as "Le samourai" (1967) and "Le cercle rouge" (1970).

"Le deuxieme souffle" is not noticeable because of an innovative plot. The criminal who comes out of prison and wants to set some things straight and also wants to make one major robbery before he retires, we all have seen it a dozen times before. It is the way Melville tells this story.

One element you can't miss is the way each milieu has it's own code of honor. Gustave Minda (Lino Ventura) is a criminal who doesn't hesitate for a second when the job requires that he has to kill a couple of people ("Le deuxieme souffle" is a very raw film), but he is very anxious not to be known as a talebearer by his "colleagues". On the other hand commissaire Blot (Paul Meurisse) has to deal with very ruthless people, and in a way he understands them and sees through them. When however another commissair uses violent interrogation techniques, he takes measures to keep his profession clean.

Just like in "Le samourai" the opening scene is silent for a very long time. In this opening scene we see the escape of Gustave Minda and two other inmates. The way that Gustave has to struggle to keep pace with his fellow inmates tells us (without the use of a single word) that he is already an aging criminal.

Just like in "Du rififi chez les hommes" (1955, Jules Dassin) the preparations for the great robbery are shown in great detail. During this preparations Gustave has to hide, after all he is a prisoner on the run. Much of the movie is therefore situated in cramped claustrophobic rooms. To juxtapose all this, the execution of the crime is situated in the most open of landscapes imaginable.

Melville's 'Le deuxième souffle' as many of his other works, reflects the same particular and distinctive style of Melville. The film proposes more or less all Melville's usual themes (relations and tensions between cops and thugs, violence, loyalty, forbidden love and friendship). Melville managed the film admirably with coherent storytelling, masterful directing, slow but infinitely good rhythm and especially his intriguing characters, portrayed by a fantastic cast. An excellent dramatic crime film that marks Jean-pierre Melville's iconic era.

A great watch.

Nowadays, films that last more than two hours or even two and a half hours are no longer a rarity, on the contrary, they have become almost the norm. This was not the case in 1966, when Jean-Pierre Melville directed 'Le Deuxième Souffle', a 'film noir' that assimilates and synthesizes the film experiments of the French New Wave, of which Melville was very close, but at the same time has a classic structure and narrative, starting from José Giovanni's documentary novel which it brings to screens (Giovanni also wrote the film's dialogues). More than five decades after its making, the film has a stylish look (perhaps due to the use, for the last time in Melville's career of black and white film) but also a modernity and a cursivity that make it easy and interesting to watch. I didn't get bored at any point and I never had feeling that the movie (which I saw in the full 150-minute version) is too long.

Jean-Pierre Melville addresses here a theme that he will continue in subsequent films and especially in 'Le Samouraï', which I consider to be his cinematographic masterpiece - the theme of the honor code of the mob. Solidarity among those in the dark side of the law requires mutual protection among criminals, including rivals, in the contacts with the law officers and imposes absolute silence even under the toughest investigations. The informers and those who collaborate with the police are, according to this 'moral' code, the lowest human species, and the fate that awaits them is death. The film begins with the escape of Gustave 'Gu' Minda, the main hero of the film, played by the wonderful Lino Ventura, from the prison where he was serving a life sentence. When the police inspector who follows him uses an illegal recording to compromise him, the recovery of his honor becomes more than an obsession for him, more important than love and even life.

This is one of the solid and generous roles in Lino Ventura's career, a role that suits him wonderfully. A few other excellent actors surround him: Michel Constantin, known from many other gangster films, Paul Meurisse whom I knew from the classic 'Diabolique' made a decade ago as a talkative and shrewd police inspector, and Christine Fabréga, whom I did not know until now, takes upon with aplomb the role of the hero's hopeless girlfriend. The cinematography cleverly applies the lessons learned by Melville during his Nouvelle Vague period, bringing to screen Paris and Marseille with their shadows, bars and nightclubs, with jazz music in the background in the style of the American films adored by the young French directors of the period. The arid and spectacular landscape of the southern roads of France is an excellent setting for spectacular pursuits and heists, and we also have the opportunity to see the old port of Marseille as it looked before the renovations that turned it into a tourist destination. 'Le Deuxième Souffle' is an excellent gangster movie, but also a psychological film, accurate and believable in character building, which deserves to be seen for much more reasons than nostalgia.