Good movie but grossly overrated

Good , But It Is Overrated By Some

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

It represents the ash after its final credits. last meet between Gabin and Delon on screen, it is a film inspiring, for an old man like me, nostalgia. because it seems a puzzle with familiar pieces. simple. but seductive. dramatic. for the nuances. a story about second chance, justice and sins. one of films for a precise target. because it is one of keys to an universe of cinema who seems, for many reasons, lost today.

An exceptionally well acted film from writer/director Jose Giovanni. Alain Delon is recently paroled from prison with the help of social worker Jean Gabin. Moving to the south of France, Delon is pursued by his former gang mates as well as vengeful cop Michel Bouquet. Bouquet is so bent on forcing Delon to go bad, he hounds him into violence. Giovanni's riveting film features some great acting from Delon and Gabin and a very strong supporting cast, including Victor Lanoux, Mimsy Farmer and, briefly, a very young Gerard Depardieu. The stunning cinematography is by Jean-Jaques Tarbes and the music is by Phillipe Sarde. One of the best, and most unique, French crime thrillers of the 1970s...uncompromising 'til the very end.

There are only two reasons to see this film: 1. Jean Gabin and 2. An almost flawless example of a certain zeitgeist of the early 70:s. There has been several films made in several countries around the basic theme: in an evil system it's the oppressors that are responsible for creating criminals, who are actually themselves victims of a faulty society, therefore criminals should be set free and the system overturn - a new, better system shall come in which, by default, there will be no crime because we won't have any cause for it. All based on a Marxist conception of criminality in modern society that, by the way, still after 40 years rules among most criminologists in western Europe. All this is handed down to us by an extremely heavy-handed director (Giovanni is responsible for writing some of the best scripts in French cinema and should have left directing to directors), complete with lines such as "People will march on the streets!" and Gabin's final judgment on society "It's a killing machine". An utterly unbelievable criminal-turned-angel Delon tries to go straight after a 10-year sentence but the effort is shattered by an utterly unbelievably evil police detective. All this is witnessed by an elderly parole officer (Gabin) with a heart of gold. The plot is predictable, the end inevitable, and only the worst Hollywood-moralizing studio efforts are better at hammering a message down your throat. Here the message seems to be political while in Hollywood it's often rather religious, but the technique is the same, and strangely, you can hardly miss the Devil and God working around a hapless Man even here. Unless you're a fan of the great Jean Gabin, it's a waste of time.

Formidable film built on an original scenario, Two men in the city is a load against the death penalty and a dark report on the incapacity of the Republic to grant one second chance to that which made an error. But it is also, quite simply, the tragic history of a man. Four years after their Clan of the siciliens, José Giovanni again joins together the couple, Gabin/Delon in a film . It calls also upon one of known leading man , with dishevelling Michel Bouquet in relentless police , Bernard Giraudeau who plays the son of the teacher Cazeneuve, the presenter Christine Fabréga, his wife, Cecile Vassort ,his daughter.Victor Lanoux , Gerard Depardieu and Gabrille Briand three mafias, One could say, in a certain manner, which we all are of Gino Strabliggi..... that's a simple existence transfers with the drama. What is striking, it is to see the life gradually escaping the character literally from film. A combination of circumstances: a mourning which pushes to start again elsewhere, the chance which puts to you in the presence of harmful characters, voluntarily or involuntarily, the feeling of injustice in justice. The interpretation of Alain Delon one of his best in his career. One will never say enough the importance of the glances in this film. Delon deploys a varied and sensitive "pallet" . Jean Gabin, to his practice, brings a considerable appreciation to the interest of film. Narrator and the pilot main thing of the drama, it systematically replaces the pseudo truths in their true contradiction with the owner of the printing works which employs Gino Strabliggi, humanity in a terribly mechanical and cold landscape. It is necessary to have seen the two almost dumb scenes in which the two actors exchange glances, that of the visiting room and that of the execution. Into the latter, Gino Strabliggi slips to Germain Cazeneuve "- I am afraid" like that of a son to his father.last word ,the original music of Philippe Sarde, perfectly adapted to film; light and sad old story... like the destiny.