Released just before Belmondo was unleashed upon the cinematic world in Godard’s Breathless, Classe Tous Risques is a fascinating glimpse of mainstream French film but not in the form of Truffaut’s ‘old man cinema’. In 1954 Francois Truffaut’s polemic, that heralded auteurism, was published in Cahiers du cinema. Here he railed against the ‘cinema du papa’; in other words it was a young man’s moan against the boring mainstream. He called for the auteur to give a personal vision that was cinematic, rather than script bound. It wasn’t until Truffaut, and the other directors of the nouvelle vague, began making movies at the end of the decade that his vision was fulfilled.
Claude Sautet, who became commercially successful in the 1970s, was picked to direct by the star Lino Ventura who plays a gangster having a ‘last hurrah’ as he makes his way back to Paris with his young children. The direction is good, the scene when Belmondo is arrested is great, but what struck me about the film was the use of location filming. Clearly they were shooting on the street with lightweight equipment, so important to the ‘new wave’, and the passerbys are ‘working’ as free extras.
The hardboiled narrative, based on a José Giovanni novel (he also co-scripted), is engaging enough and the performances are excellent.