UnowPriceless hyped garbage

Lumsdal Good , But It Is Overrated By Some

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Zlatica One of the worst ways to make a cult movie is to set out to make a cult movie.

MARIO GAUCI Out of an Alain Delon three-film marathon, this was the one I was most looking forward to but, surprisingly, ended up being the most disappointing. The fact that the Italian TV broadcast suffered from intermittent instances of bad reception had a lot to do with this, I guess, but I also found the film (which was adapted from a novel by crime expert Jose' Giovanni, dealing with a search for treasure lost at sea) rather an inconsequential trifle! Still, the proceedings are considerably bolstered by attractive locations, the delectable Joanna Shimkus (even if her character, who hitches with stars Delon and Lino Ventura far too quickly, is killed off half-way through) and Francois de Roubaix's delightful score. Delon – playing a dashing, reckless flier – is his typically inexpressive self, but Ventura is as strong as ever as his inventor/racing-car enthusiast partner; also notable is Serge Reggiani as a nervous yet shifty hanger-on who eventually reveals the exact whereabouts of the crashed airplane in which the loot is stashed. Incidentally, the abandoned fortress in mid-ocean (Shimkus dreams of owning it, but which is eventually purchased by Ventura after her demise with his share of the recovered fortune) is a great setting – which director Enrico ably employs for the film's action climax (even if the gangsters who assault Ventura and Delon, who are also after the money, make for a bunch of anonymous villains).

vik-8 In my view, one of the taglines of this movie is aspiration of human nature for 'exploring new horizons' - it doesn't matter where - in performing a stunt with the small plane, in building a novel racing car engine, in establishing a new art direction, in finding something on the bottom of the sea - that may not exist... You may recall how Laetitia looses interest in her dancing partner when he indicates that he doesn't know why all these things are needed.

androidus It's is hard to say anything about a movie like this. The previous commentators almost told everything. Let me share you just some extra thoughts.This film is about freedom. If you have not seen it, maybe you do not know what freedom is, and how it feels to be free. It shows a world that will not come back any more, and we can not be sorry enough for that. Something has gone. Something, that is present in each and every moment of this film. When watching it, you will feel short of breath, and that the room is not large enough.You will not forget the name Laeticia any more, and wont forget the song about her. Her death (I think this can be said) is the most tragedic one of film history. Incredible, but so simple. I'm a strong man, who never cries, but this is a moment that I can not resist crying.Her funeral is a memorable moment. I can suggest to everyone to see also Luc Besson's Big Blue, and compare Enzo's funeral to Laeticia's. That is Monsieur Besson's salute to the makers of this film.

jrhietpas The film has many pleasures - a wonderful score, a barnstorming biplane, a funny car (with an even funnier-looking driver), a Paris art show, and a nifty fortress in the middle of the ocean. Alain Delon is always a pleasure to watch. He plays the arrogant, handsome daredevil with a heart of gold quite convincingly. His acting is always intense, even when he is doing very little. Lino Ventura is terrific as well, and he and Delon are a great pair. Upon reflection their relationship makes little sense (since we are given no history of the two) but it hardly matters when one is watching the film. The relationship between the two men and Laetitia (Joanna Shimkus)is a bit odd but sweet and believable. The locations are wide ranging (Paris, Africa, coastal France) and this film is full of exciting and droll scenes: The discovery of the sunken airplane is beautiful and scary; Roland and Manu walking out of the casino in their suave duds and getting into Roland's tow-truck is hilarious. The greatest pleasure of the film is that the narrative does not necessarily go where one would imagine it would. The version I saw was widescreen and the subtitles were mostly in the lower black of the letterboxing, which made them very easy to read. If you're in the mood for a little bit of action with a lot of good characterization and acting, check this one out.PS: The French seem pretty hung up with threesomes, no?