Un nomme La Rocca 1961, I think, was a landmark year in Belmondo's career. It was then that two films came out, in which a real star appeared before the audience - a ready-made charismatic actor, ready not only to share his courageous texture with the picture, but also to place accents, changing and sensitive to any plot "undercut". I am talking about Leon Morren the Priest, a film in which Belmondo fully developed his serious dramatic component, which was previously only implied in Chochar and Moderato Cantabile, as well as One La Rocca (a more accurate translation of the tape “Revenge of the Marseilles”). It is in this tape, perhaps for the first time, you can see the most confident and arrogant, charming Bebel, who shocked the Soviet Union with his “Professional”, made Delon nervous in “Borsalino” and “exploded” the “Cesar” award with his “Palm of Fate”. In my opinion, it was here that Belmondo allowed himself his signature gait - this is how, overturning his shoulders and slouching a little, Joss Beaumont will go in the final of the Professional.
With "One La Rocca" began a long collaboration Belmondo with former gangster Jose Giovanni. Together they made not one worthy film. And apparently, this story was very important for both - no wonder, after many years, both made a remake of the film ( "Scumun - bringing misfortune"). I liked that the film focused not on the formation of the authority of La Rocca, his criminal biography, but on issues related to his personal life – issues of love and friendship, growing up. Thus, the cold-blooded killer, as if he had migrated from Westerns about skilled gangfighters, was shown as a deep man, whose every action is based on a silicon spiritual rod. And it is nothing that Jean Becker did not unfold a detailed chronicle narrative, limiting himself to a somewhat ragged display of several fragments from the life of the hero. I think that was pretty good.
Special words should be said about the cast. They were all perfect. For example, two passing characters played by Henri Villorge and Mario David very organically fit into the tape, as if all their lives were the servants of a gangster. Michelle Constantin as an American racketeer will appear for a short time, but will probably make such a positive impression on Giovanni that many years later he will invite him to one of the main roles in Scumun. But what struck me most was Beatrice Altariba. This actress, who remained only a star of “Eye without a face” had everything to become a real star – charm, natural beauty, grace, performing skills. In the film about La Rocca, she is in her place. Hardly would Claudia Cardinale or any American star of those years have played better. And there was also Pierre Vanek - an actor who played here perhaps his best role in his career.
But it's all emotions. The most beautiful thing about this picture is the unexpected transitions, from the tough criminal police neo-noir to the melodrama, then to the prison film and so on. Belmondo’s stupid look will suddenly change to a concentrated, aged one. A similar transformation will be made much later by de Niro in Sergio Leone’s masterpiece. All the more valuable is the painting by Jean Becker. I recommend it.
9 out of 10
