L'insoumis (1964) User Reviews

An excellent Alain Delon stars in a haunting thriller.

[jcjoha · 8/10 · 2 August 2006]

This is a little gem. Alain Delon plays a deserted legionnaire who gets hired by the OAS (Organisation de l'armée secrète, which translates to Secret Army Organization, a short-lived French terrorist group) to kidnap a lawyer and hold her prisoner in Algiers for several days. He falls in love with her and helps her to escape. From now on the OAS is after him.

This is a chase film, which starts as a tough thriller and half way through turns into a gripping melodrama which is engaging because of the tender love story which comes to the foreground and slowly starts to get to you.

I recommend this film for fans of slow-paced thrillers and fans of Alain Delon (check out his work in the cult classic Le Samourai) who once again displays his panther-like agility and steely determination. Also watch out for the superb black-and-white cinematography by expert DP Claude Renoir (who later photographed French Connection II). The film makes excellent use of real locations.

I also liked the melancholy feel of the story. The lead character's desire to return home to a place where he once was happy and which now seems so very far away is touching and has always stayed with me since the first time I saw the movie.

Delon at his best, and a good story.

[zablotf · 8/10 · 22 March 2007]

The story takes place in France in 1961 or 1962, at the end of the independence war in Algeria. Thomas (Alain Delon) is a former legionnaire who has chosen to join covert action against pro-FLN militants. Thomas is not a really politically-motivated activist, he has just followed his platoon commander. His group has abducted a female left-wing attorney (Lea Massari). In charge of guarding her in an empty flat, he kills another member of the group. Wounded, wanted by both his right-wing organisation and the police, he tries to escape with the girl. From the same movie-maker, and about a close topic, also see "Le Combat dans l'île".

Hair like Alain Delon

[JohnSeal · 7/10 · 26 May 2008]

Titled more poetically L'Insoumis (The Disobedient) in its native France, this incredibly rare Alain Delon thriller recently turned up on American TV courtesy Turner Classic Movies. Delon plays Thomas, a de-mobbed soldier working for the OAS, the shadowy terrorist organization that supplanted governmental authority in the restive French colony of Algeria during the late 1950s and early 1960s. Thomas has been hired to kidnap a left-wing lawyer (Lea Massari), but when he falls in love with her and lets her escape, his OAS masters are none too pleased and the chase is on. Superbly shot in black and white by Claude Renoir and featuring a typically fine if sparse Georges Delerue score, Have I the Right to Kill also features a standout performance by the unheralded Viviane Attia as Thomas' sister Maria. Miraculously, the film's dubbed English-language track doesn't ruin things, but it would certainly be nice to see L'Insoumis in its original Francophone format.

Underrated early Delon performace

[searchanddestroy-1 · 13 April 2023]

And what a performance for the greatest French actor ever, with Jean Gabin, the most widely known. Here he plays a lost soldier, whose fate is lost in advance because of a desperate fight. His performance is realistic at the most and the directing absolutely flawless, never boring, tense. Alain Cavalier also gave us here, just before MISE A SAC, one of his classical part of career, before he got lost in a very intellectual second part, very "sealed" and not destined at all to wide audiences. This story evokes the post French Algerian war and its whereabouts, with OAS underground matters. The cast besides Delon is also excellent. Especially Robert Castel in a supporting role very close to what he really was: an French Algerian "pied noir", a colonist living in Algeria and fighting against independance.

A lovers' fever dream: illogical and far-fetched, though one may say appropriately so...

[moonspinner55 · 6/10 · 27 March 2024]

With Algiers liberated by the French Loyalists, a legionnaire-deserter, hiding out in a small flat with a young woman and her father, is given an assignment: temporarily kidnap a lady lawyer who is arriving from Lyon to defend two Algerian terrorists. For his part in the abduction, he'll be paid enough money to return to France; however, things don't go as planned... Alain Delon, who really does look and act like the French equivalent to James Dean, carries this chatty, intriguing star-crossed lovers drama a long way; he displays the passionate angst and self-centered inner-conflicts (and the physical beauty) of any Hollywood movie star of this era. Still, the late-coming explanation for the deserter's sudden and dramatic change of plan is unsatisfactory; he says he loves the lady lawyer (Lea Massari), though one can see his decision to free her was a plot device just as his declaration of love is a plot function (this guy is only out for himself). Their roles aren't reversed so much as they are exchanged. Incredibly, the lawyer--who is otherwise married to a very understanding man!--doesn't care that loving the doomed deserter would spell her own demise. Is the movie saying that love and desire turns us all into fools? **1/2 from ****

Imperfect in various ways, but more enjoyable & well done than not

[I_Ailurophile · 7/10 · 7 May 2023]

With recognition of some details that mark this as a very French production (chiefly the opening scene, and the details of characters that flow from it), I don't think it's unfair to say that this movie comes across as a thriller that very easily fits in with like contemporary fare from Hollywood and elsewhere. I say this in terms of both its content, absolutely, and in a broader sense the quality. I don't think there's any arguing that all the pieces are here: two well known and deservedly well regarded leads in Alain Delon and Lea Massari; betrayals, killing, a protagonist on the run, and a supporting character risking much to render aid; the inevitable development of a romance that's almost invariably a little less convincing; excellent craftsmanship across the board. I'm not sure that all those pieces fit together into the precise ideal shape, but the underlying strength is there, and 'L'Insoumis' is much more enjoyable and well made than not.

The troubles I see aren't nearly so severe as to wholly dampen the viewing experience, but they do stack up through to the very end when the feature abruptly cuts to Dominique for a few seconds. From the very beginning the dynamics between Thomas and Dominique are marginally ill-fitting, like puzzle pieces that mostly fit together but don't 100% comport; how they act around or for one another seems in some degree a contrivance of "just so" Movie Magic. Georges Delerue's score is splendid in and of itself, lending to the mood of any given scene and definitely suitable for the genre. In some instances I think it's too prominent in the audio mix, however, or a theme comes in on the soundtrack too early, or maybe one is just slightly out of place. Some fragments of the dialogue and scene writing feel a tad out of place, or possibly unnecessary - that is, anything speaking to Thomas' background or history, arguably even the opening scene, that doesn't pertain directly to the active narrative. On the other hand, that Thomas' background isn't fleshed out more means the ending doesn't carry nearly the weight that it should. Above all, this feels incrementally imbalanced between those facets that are pure drama, and those that are of the abject thriller variety; as the plot switches back and forth, the drama feels slow amidst the thrills, and the thrills seem unevenly stitched on amidst the drama.

All this is very unfortunate, for it bears repeating that 'L'Insoumis' is still a good time more than not, and I appreciate the work that everyone put into it. The stunts and effects are terrific; I rather love Claude Renoir's mindful cinematography. The cast give strong performances, with Delon and Massari naturally standing out most, and I think Alain Cavalier's direction is solid in orchestrating shots and scenes. Even aspects like the production design, costume design, and hair and makeup are fantastic, and I recognize robust foundations for the plot in Cavalier and Jean Cau's screenplay. The narrative is complete and compelling; not all the characters are necessarily fully fleshed out but even the sketches are enticing; the scene writing is firm both in and of itself and in providing building blocks for the whole. Would that the rough edges were smoothed out, for if they had been the film at large would have been improved. If the writing were tightened and more balanced, and a more meaningful relationship developed between Dominique and Thomas from the very start, this could only have been elevated. I'll allow that cuts which were accordingly demanded by censors may have contributed to some of the issues I see, including a very curt ending. Still, I've a hard time imagining that a post-production hackjob is entirely responsible for the weaker points.

Regardless, when all is said and done, I do think this is worth checking out. It's entertaining, and well made, and Delon and Massari are as reliable as they've ever been. Even if weren't for some distinct flaws I don't think this was ever going to be a total must-see, as comparable titles are all to easy to seek out. Still, though there's no need to go out of one's way, I'm of the mind that 'L'Insoumis' deserves a look if you come across it, suitable for something to watch on a quiet day.

Dubbed Delon Is Better Than No Delon: Moody Romantic Thriller

[museumofdave · 9/10 · 6 December 2013]

This film just shows up every now and then on Turner Classic Movies in a dubbed version: it's a surprisingly moving film from the 1960s, a period in which cultural values were undergoing major changes. The hero, played by a dazzlingly handsome and charismatic Alain Delon, is a Foreign Legion deserter and has decided, after his quick escape, that amid all the political drum beating in France and Algeria at the time, all he wants to do is return quietly home and tend his bees and see a daughter left behind. He wants no more of shooting. Little does he know.

Delon must find enough francs to smuggle himself across the waters to France, and in selling his services gets caught up in a chase situation with a woman hostage, and by this time the willing viewer will be caught up as well--the cinematography is compelling, the music score unobtrusive but appropriate, and actors backing up the central performance all give memorable performances that often cross paths in one way or another.

Usually I run screaming from the screen when a film is dubbed from French or Italian into English, all the gestures and voice qualities out of whack with the original film or actor. This one, however, works well, and I found within ten minutes I was lost in the chase; the only complaint I had was in the nature of the ending, and there is no place in an informative review to discuss it here. See for yourself--if you can find it.

Superb direction by Cavalier, perhaps Delon's finest performance

[adrianovasconcelos · 9/10 · 16 April 2020]

L'INSOUMIS is a film about France's approaching decolonization of Algeria and its consequences, symbolized here by deserter Thomas Vlassenroot (played by Delon), an extremely complex character who is a brave and generous soldier, willing to risk his life to try to save a fellow serviceman who has been shot, and a subordinate ready to obey his lieutenant's orders until he realizes that the abductee (Massari) is thirsty and suffering.

From the moment he saves her and gets shot for it, his fate is sealed, and we watch him go through various stages of consciousness until he closes his own eyes. Before that, he kills a few people, steals, and breaks the law - always in a silent, lethal manner.

The squalid trappings of Algeria, and then of Lyon, France, provide the background to a memorably simple love scene between Delon and Massari. His declaration of love for her, and her realization that she feels the same, is poignant without ever turning oversentimental.

Massari's husband subsequently comes to her rescue and he, too, loves her, and he also knows that Delon is on his last legs. Garrel portrays the cheated husband with considerable dignity.

The last minutes of this brutally realistic film are extremely touching: Delon tries to regain his mother's house, which brings memories of his youth, when he helped her extract honey from beehives, and he gets to see his child whom he has not seen in six years.

Alain Cavalier's direction is sublime in its simplicity. Alain Delon's performance is probably his best ever, better even than in LE SAMOURAI (where he plays Jef Costello, a character similar in many ways to Vlassenroot), and in ROCCO AND HIS BROTHERS, which I had rated his finest until I saw L'INSOUMIS.

Beautiful Lea Massari delivers splendidly on her role. Any man would fall in love with her on the spot, which only adds to the film's pervasive credibility.

Very solid supporting cast, not one weak performance in this film.

Minimalist soundtrack and cinematography, and an extremely concise script, with spare dialogue, all contribute toward this extremely realistic, almost amoral and yet heartfelt masterpiece.

I had never heard of Director Alain Cavalier before. I do not believe that he has managed to replicate the form that he showed in L'INSOUMIS but he deserves the highest accolades for it.

The film ends with this obituary: "THOMAS VLASSENROOT 1933-1961." Did Vlassenroot actually exist? Is L'INSOUMIS based on true events? Grateful if anyone has an answer.

Masterpiece. 9/10

France and I are divorced.

[brogmiller · 9/10 · 30 May 2020]

The female lawyer on whose kidnapping this film is based successfully sued the producers, among whom was Alain Delon, for violation of privacy. As a result the Court ordered twenty-five minutes' worth of cuts which naturally made the film nonsensical. This was obviously a bitter blow for director Alain Cavalier whose decision to make a film at that time with a backdrop of the Algerian War took courage and for Delon who gives one of his finest performances. Happily those scenes have now been restored. Delon plays Thomas, an ex-Legionnaire who is paid by the OAS to guard two French citizens one of whom is a female lawyer. He helps them escape and is thereafter a hunted man. Matters become even more complicated when he and the lawyer begin an affair......... Delon, perhaps drawing upon his experience as a soldier in Indochina, is sensational as Thomas and is perfectly complemented by the magnificent Italian actress Lea Massari as Dominique the lawyer. Their chemistry is palpable. Georges Geret is excellent as his former lieutenant who becomes his pursuer. Cavalier has the services of the brilliant cinematographer Claude Renoir and there is a great but sparingly used score by Georges Delerue. This compelling and haunting film has neither a wasted shot nor a false moment and I strongly urge you to see it.