Films which have achieved the dubious distinction of 'cult' status are either far from great or do not represent the best of a particular director. This film of Roberto Enrico is a case in point. It is not a bad film by any means but is neither as well scripted nor as well constructed as others from the same director.
One has only to read reviews on IMDb to realise that this film has struck an emotional chord and captured the imagination although one viewer's declaration that it is 'the best film ever made' is of course utter nonsense.
It is essentially a 'buddy' movie and its success must surely be due to the fact that the buddies are played by Alain Delon and Lino Ventura, two charismatic stars who gel as a duo and possess that indefinable quality that makes us care what happens to them. Their testosterone is balanced by the oestrogen of photogenic former fashion model Joanna Shimkus.
The narrative is rather aimless and the plot absurd but the dynamic between the trio maintains our interest. There is a lovely score by Enrico's preferred composer Francois de Roubaix whilst the location cinematography by Jean Bofferty, especially that of Fort Boyard, the delapidated Napoleonic sea fortress, is splendid. The burial at sea is the scene that lingers longest.
The main appeal of the film lies in the free-spirited nature of Manu, Roland and Laetitia but also serves as a poignant reminder that freedom comes at a price.
One has only to read reviews on IMDb to realise that this film has struck an emotional chord and captured the imagination although one viewer's declaration that it is 'the best film ever made' is of course utter nonsense.
It is essentially a 'buddy' movie and its success must surely be due to the fact that the buddies are played by Alain Delon and Lino Ventura, two charismatic stars who gel as a duo and possess that indefinable quality that makes us care what happens to them. Their testosterone is balanced by the oestrogen of photogenic former fashion model Joanna Shimkus.
The narrative is rather aimless and the plot absurd but the dynamic between the trio maintains our interest. There is a lovely score by Enrico's preferred composer Francois de Roubaix whilst the location cinematography by Jean Bofferty, especially that of Fort Boyard, the delapidated Napoleonic sea fortress, is splendid. The burial at sea is the scene that lingers longest.
The main appeal of the film lies in the free-spirited nature of Manu, Roland and Laetitia but also serves as a poignant reminder that freedom comes at a price.