The BFI’s reissue programme with its gleaming restorations distributed as DCPs is doing wonders for the reputation of classic European cinema – and Keith will be pleased to learn that this example is in the correct 1.66:1 ratio. Claude Sautet, who died in 2000, was known in his later career for dramas like Un coeur en hiver (1992) and Nelly et M. Arnaud (1995) but in his earlier career as a writer and director he worked on genre films including this classic polar. Polars are crime films of various kinds and this is one of the very best featuring Lino Ventura in his prime and Jean-Paul Belmondo just getting established (his earlier film with Godard was also released in 1960).
The Franco-Italian co-production (a growing industry practice in the early 1960s) starts in Milan with Ventura as a career criminal and a wanted man who has killed trying to get home to France. (The title has been claimed as a pun on ‘Tourist Class’ but I prefer to think of it as a man who travels ‘at all risk’ – there is no quarter if he is caught by the police as he faces execution by guillotine.) The film includes a journey between Nice and Paris (with Belmondo as driver) which had become almost de rigeur in the polars I have seen. I was reminded of the Jacques Demy film La baie des anges (1963). Class tous risques is a relatively long film for the time (115 mins) and Sautet uses the screen time to great effect in developing the characters. The main commentaries on the film mention three things, linking it to film noir, neo-realism and the films of Jean-Pierre Melville. I don’t think this is a film noir, either in terms of the mise en scène or the theme. For one thing it doesn’t have the misogyny associated with the femme fatale. There is a woman who would betray Abel (Ventura), but she is a not a femme fatale. The women are mostly loving and supportive. It is not like a Melville polar – it’s far less romantic and instead veers towards neo-realism in the authenticity of both settings and relationships – the author of the original novel, José Giovanni had himself experienced the criminal life. It begins with a terrific chase sequence in Italy and includes passages in which Ventura must look after his young children.
I love the cinematography by Ghislain Cloquet and the music is by the ever reliable Georges Delerue. One of the things that makes the film great is its complete lack of sentimentality and its devastating ending. This is a sure-fire classic. Now I must dig out my copy of Touchez pas au grisbi, in which Ventura makes his debut down the cast list with Jean Gabin as star. If Classe tous risques comes your way via an inspired film programmer, rush to see it.