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bibescu
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Un flic (1972) DVDrip
(9 File)
audio: franceza
subtitrare: engleza
Sinopsis
Comisarul Edouard Colemane, un politist foarte dur, este insarcinat sa faca lumina intr-un jaf comis asupra unei banci mici de provincie. Suspect principal va fi un prieten de-al lui Simon, proprietarul unui bar, unde lucreaza si frumoasa Catherine Deneuve, femeie pe care cei doi o impart in intimitate...
Informatii aici:
DVD cover
pass:
Salutari 
O sa mai apara in aceeasi serie Alain Delon:
audio: franceza
sub: engleza
si
Flic Story (1975)
Parole de flic (1985)
Trois hommes a abattre (1980)
audio: franceza
sub: daneza
Modificat de bibescu (acum 17 ani)
_______________________________________
Filme Romanesti facute format DVD de bibescu
#01 - Nunta de piatra (1972)
#02 - Independenta Romaniei (1912)
#04 - Sarutul (1965)
#05 - Un film cu o fata fermecatoare (1966)
#06 - Acordati circumstante atenuante? (1984)
#07 - Mireasa din tren (1980)
#08 - Secretul cifrului (1959)
La filmele romanesti avem CATALOG. Se admite doar un topic pe film.
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videanu
Membru Gold
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Mi-ai facut cea mai mare bucurie. Mii de multumiri, abia astept.
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lauvoi
Pe lista neagra
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Un flic (1972)
Runtime: 98 min
Language: French-English Subtitle
Country: France / Italy
Color: Color (Eastmancolor)
IMDb Link:
Director: Jean-Pierre Melville
Cast:
Alain Delon ... Commissaire Edouard Coleman
Richard Crenna ... Simon
Catherine Deneuve ... Cathy
Riccardo Cucciolla ... Paul Weber
Michael Conrad ... Louis Costa
Paul Crauchet ... Morand
Simone Valère ... Paul's wife
André Pousse ... Marc Albouis
Jean Desailly ... Distinguished gentleman who was robbed a statue
Valérie Wilson ... Gaby
Henri Marteau ... Police officer instructor of shooting
Description: Bank robbery in small town ends with one of the robbers being wounded. The loot from the robbery is just a asset for the even more spectacular heist. Simon, gang leader and Paris night club owner, must also deal with police comissaire Edouard Colemane, who happens to be his good friend.
Download Links:
Rar Password: None
Sub. RO:
The English title is Dirty Money, random but apt for a link to L'Argent, another master's final work -- Jean-Pierre Melville's lapidated imagery is Bressonian, or, as the younger director preferred to say, perhaps it was Bresson who had always been Melvillian. The finish of a steadily abstracting line in any case, the opening bank robbery (pale Hokusai lighting, blue sleekness and seaside melancholy, trenchcoats, masks and about three sentences for the hold-up) distilling an entire oeuvre. Richard Crenna, laconic in fedora and shades, is the chief hood, Alain Delon is his friend, a weary police detective -- Delon lounges by a nightclub piano and his insouciant tinkling summons Catherine Deneuve, who travels from underworld to law and back to provide the third side of their triangle. The central sequence is the boarding of a night express, a helicopter dropping Crenna into the moving train to relieve two valises of cocaine from the transporter; the thief sneaks in, changes from jumpsuit to red pjs, combs his hair back and uses a magnet to pick a lock, all ritual, all ceremony. An ascetic policier, with Melville continuously bridging the histories of genre and art -- Delon contemplates a slain moll at a grim fleapit, then an object d'art at a perfumed old debaucher's house; Crenna, for his part, meets his gang at a museum (a shot of the fake hall is bizarrely lyrical), moving in so his close-up can be intercut with Van Gogh's self-portrait. Everything points to the disintegration of Melville's loyalty motif, honor all but evaporated from both sides of the game. A wounded gang member is snuffed out lest he snitch, although there's even less scruples for the cops -- the job makes them skeptical ("especially about skepticism" ), Delon waits an extra instant to burst in on Riccardo Cucciolla so the wretched accomplice can blow his brains out in the bathroom. A tranny informer is last seen with teary-runny mascara, unceremoniously dumped; chilling perfection is Melville's epitath, death in the morning street, empty but for red lights and cold eyes and, per Vidocq, "ambiguity and derision." With Michael Conrad, Paul Crachet, and Jean Desailly.
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