Jean-Pierre Melville’s 1970 movie *Le Cercle rouge* (The Red Circle) centers on a group of people who don't initially know each other. As an intertitle proclaims, quoting a fabricated statement from the Buddha, "When men, even without realizing it, are destined to meet, whatever their circumstances or paths in life, they will inevitably converge at the red circle." The story involves Corey (Alain Delon), recently freed from prison; Vogel (Gian Maria Volonté), who managed to escape before reaching his destination; and Jansen (Yves Montand), a man struggling with alcoholism and possessing exceptional marksmanship. These individuals become entangled in a jewelry heist, during which they are pursued by detective Mattei (André Bourvil). Melville’s direction unfolds at a deliberate pace—a necessity for the audience to grasp the intricate connections between the characters—and those unfamiliar with mid-century French filmmaking might find it difficult to endure. However, fans of the French New Wave may appreciate Melville's capacity to build suspense in a way that feels almost pleasurable. I was captivated throughout, eager to see how events would unfold. The film’s visual style is also consistently pleasing: subdued colors, focused close-ups on the characters’ faces at significant points, and a noticeable contrast between the criminals’ world and the activity of ordinary Paris life. I anticipated some letdown, given that this was Melville's third crime story in as many years—following *Le Samouraï* and *L'Armée des ombres*. Nevertheless, despite his repeated focus on this subject matter, *Le Cercle rouge* presents a unique perspective. There are subtle references to *Le Samouraï* visible in the settings, but Melville demonstrates his actors’ abilities by casting some characters as antagonists here who were previously portrayed as protagonists and vice versa. Ultimately, it's not an essential or transformative film experience, but rather a classic that has aged well and is definitely worth watching.

Source on TMDB