| charnier |
05-09-2011 02:01 PM |
Quote:
Originally Posted by Harry Caul
(Post 4707149)
Originally Posted by charnier
It's a different thing with Rififi and Cercle Rouge, I think the idea behind Cercle Rouge is that it's not driven by the motivation of the Characters, it's their predestined way that they should meet and and the path it's already chosen by their actions and interactions prior to the point where they would have to decide something. It's already predestined. Like the way Delon and Volonte meet is nothing but a series of paths they have taken in their lives. BUT the important thing is they have learned in their lives how to recognize a good hand they have been dealt by chance.
|
I had not really considered pre-determination, but nevertheless it is referenced - in Rouge and Le Samourai, I think, Melville opens the films with quotes relating to Buddhism. What I really meant was though that characters like Corey and Jeff Costello in Meville tend to be characters of few words, but big actions - not explaining why they do what they do but doing it anyway, while Rififi's characters are big on both words and actions - Tony mentions the code to another character, and warns his friend [Show spoiler]not to hand over the money to Grutter as it is likely he will kill his friend's son . There is also the scene that invites comparison with both films - [Show spoiler]the heist sequence. In Rififi, every stage of the robbery is clearly detailed and laid out. In Rouge, I remember that the first time I saw it, it was not clear why they needed Montand's marksman until he fired the actual bullet into the hole. I love the way that it has you questioning that they need someone to fire a bullet, but for what and then witholding the key detail until the last.
Even though Rififi makes no reference to buddhism, one could also make the case that pre-determination applies in this film too - these characters choose to live their lives in such ways in both these films that certain outcomes are likely [Show spoiler]in both films, lead characters make the choice to intervene in dangerous situations when they don't have to, leading to their deaths - Vogel and Jansen in Rouge; Tony when he chooses to go after his friend when he gets his son back
|