Alain Delon delivers an almost peak performance as the central character, Robert Klein, an art dealer who’s not above taking advantage of the Jewish community in Paris as they desperately try to escape the Nazis. The situation becomes intensely personal when he spots a newspaper with his name on it while watching someone leave their apartment. He goes to the authorities to insist that he isn't the "Robert Klein" listed, but they seem skeptical and suspect he might be deceiving them. Ultimately, he decides the only way to ensure his own safety is to find the actual man named Robert Klein before he faces the same fate—the loss of property and forced removal—that he’s so easily inflicted on others up until now. While Jeanne Moreau's appearance as "Florence" feels somewhat underdeveloped, the film gains momentum as Joseph Losey utilizes Delon to powerfully convey the dread experienced during that era, particularly by Jewish people, and perhaps even to offer a glimpse of humanity—as well as potential mockery—of this selfish and superficial man. Is he now the one being pursued? Can he manage to save himself? The more he believes he’s distanced himself from danger, the tighter the surrounding chaos seems to close in, and witnessing this paradoxical situation unfold is incredibly captivating. The film boasts intelligent cinematography accompanied by a score that amplifies both our own and his growing sense of threat and exasperation. Although it might feel a bit sluggish initially, it develops into something truly excellent.

Source on TMDB