The film stars Roger Duchesne as Bob. As the voiceover narrator styles it, this is a journey from Parisian heaven to the back street hell where the tale of Bob the gambler will unfold. Melville worked on poverty row, and told his actors there was no money to pay them, but that they would have to stand by to shoot on a moment's notice. By the late 1960s, Melville was criticised for unknowingly making films imbued with the dominant ideology (Vincendeau 2003: 116, 14–16).
Meanwhile in the Casino Bob starts to gamble. He is well liked by the demi-monde community there, but has hit a run of bad luck and is nearly broke. As the aging, broke, and broken gambler who decides to make one last bid for financial security by robbing a casino, Bob (Roger Duchesne) is the archetypal film noir hero - a world-weary urban loner. , "Bob the Gambler" redirects here. If Truffaut’s Shoot the Piano Player and Godard’s gangster flirtations are not inspired by this I’d be amazed.
But will his partners keep the secret until the big day? Oddly enough, Jean Gabin, the quintessential French crime actor, who specialized in the kind of restrained acting Melville admired, never worked with him. Even as Bob le Flambeur recalls a particularly French version of the gangster film, it simultaneously needs to be understood within the context of Americanisation, in which the fascination with Hollywood participates. "Right now I have money for three or four days," he told Cauchy, "and after that we'll shoot when we can. One night, perhaps because despite her coldness she feels a certain gratitude, she hands Bob a flower. Bob le flambeur was shot on location in Paris and Deauville with two interiors at rue Jenner studio. There follows the most incredible run of luck, in which he wins millions. But Bob remains an intriguing film, suspended between the gangster genre and a more documentary impulse.
"Bob le Flambeur," Bob the high-roller, Bob the Montmartre legend whose style was so cool, whose honor was so strong, whose gambling was so hopeless, that even the cops liked him.
The safecracker is played by Rene Salgue, who was, Cauchy says, a real gangster. Cards, horses, and dice are his life.
He’s in a trench coat, puts on a hat, stays in the shadows and leaves a group of gamblers in a bar’s backroom without saying anything.
Bob with his white hair slicked back, with his black suit and tie, his trenchcoat and his Packard convertible and his penthouse apartment with the slot machine in the closet. But in "Bob le Flambeur" and the later "Le Samouraï" (in which Alain Delon plays an existential hit man), he went far beyond mere imitation.
Forming a plan to lift it, they find a backer to finance their preparations and recruit a team of professional criminals. It is strongly implied that his lucky streak will hold and he will get off with little or no jail time. Oh, first he leaves the key to his apartment with Yvonne, "for the kid," because he knows Anne will need a place to stay now that Bob knows about Paolo and Paolo knows about Marc. The film endeared Melville to the emerging generation of French New Wave critics (Melville would appear as Parvulesco, the writer, in Jean-Luc Godard’s Breathless from 1960). The croupier gets them detailed floor plans, together with the specification of the safe. In bed with Anne, the immature Paolo brags about the upcoming raid, news which she passes on to Marc, who tips off Ledru that he has valuable info to share.
A must for those who like their crime capers cool and elegant. As the expert practices on a duplicate safe, he uses earphones and finally an oscilloscope to hear what the tumblers are doing, and Melville punctuates the intense silence of this rehearsal with shots of the safecracker's dog, a German Shepherd who pants cheerfully and seems encouraged by his progress. Gangsters back then, there was more to them."
In fact, the only real contender for Pick of the Week is an Anime title, JoJoâs Bizarre Adventure: Set 4, Part 1, but it is not the only Anime title worth owning, as Cardcaptor Sakura: Clear Card - Part Two, Mobile Suit Gundam The Origin, and Steins;Gate 0 Part One and Part Two are also worth picking up. Bob le flambeur (1956) Synopsis: Bob, a old gangster and gambler is almost broke, so he decides in spite of the warnings of a friend, a high official from the police, to rob a gambling casino in Dauville.
His introduction in the film evokes an “old young man [who was] a legendary figure of a recent past” (Vincendeau, 111). Bob was a gangster in prewar Paris; "it's not the same anymore," he observes.
Bob le flambeur ("Bob the Gambler" or "Bob the High Roller") is a 1956 French gangster film directed by Jean-Pierre Melville. The website's critical consensus reads: "Majorly stylish, Bob le Flambeur is a cool homage to American gangster films and the presage to French New Wave mode of seeing. Bob’s past is suggested, but what is important is the frame on which the film focuses. Melville liked women, Cauchy tells us, but he preferred to hang out with his pals, talking about the movies. Yvonne (Simone Paris), who owns the corner bar, bought it with a loan from Bob. He changed his name in admiration for the author of Moby Dick. The camera watches a cable car descend from the beautiful church of Montmartre's Sacré Coeur to the seedy red light district of Pigalle. His early classic, Bob le Flambeur (recently remade as Neil Jordan's The Good Thief), finds principled gambler Bob hoping to end a losing streak with a casino heist.
Although he sets up the heist with all the meticulous detail of Stanley Kubrick's "The Killing" (released a year later), Melville's actually more interested in his central character's gentlemanly heroics and fractured obsession with risking everything at the roulette table.
, Vincent Canby, writing for The New York Times in 1981, noted "Melville's affection for American gangster movies may have never been as engagingly and wittily demonstrated as in Bob le Flambeur, which was only the director's fourth film, made before he had access to the bigger budgets and the bigger stars (Jean-Paul Belmondo, Alain Delon) of his later pictures. Deeply nostalgic for the time (and the cinema) of the 1930s, the film is about the legend of gangster, rather than a contemporary gangster.
He plays with the conventions of the genre with a masterful touch, creating something altogether new.
The gesture must have meant something to Melville, whose "Le Cercle Rouge" also has a man being offered a flower by a cigarette girl.
Bob le Flambeur holds a curious position within French film history. Everything is planned exactly, but the police is informed about the planned coup.
Ledru follows with a convoy of armed police. Bob Le Flambeur was apparently lost for years until a print was found hidden away. Bob le Chapeau, a documentary included in the French DVD edition of the film, recalls how the Second World War changed the milieu: some gangsters joined the Resistance, others the Gestapo. Thus, after Bob has left the club, we see him in a high-angle shot, a small person crossing an empty street, as a street-cleaning truck spraying water enters the frame, turning around in the square.
Bob le flambeur opens with day breaking at Sacre-Coeur, then follows the tram down the steep slope of Montmartre to Pigalle, snuffing its lights and shuttering its doors in anticipation of the day: “from heaven to hell.” It’s reminiscent of Franju’s opening to Le Sang des bêtes (Blood of the Beasts), where young lovers embracing at the flea market yield to an abattoir. We see water trucks washing the streets at dawn.
Rather than dwell on intricate planning, Melville emphasises the individualistic characters and cool '50s mood of night-time Montmartre. Opening in the wee hours of dawn, in the first shot of Bob the camera pans across a dark city from a hill (Montmartre), with the voice-over announcing that the neighbourhood is ‘both heaven and hell’ as a funicular, underscored by music, rapidly descends the hill down to Pigalle, a neighbourhood famous for its transgressive and in this film isolated nightlife. Melville (1917-1973) was born Grumberg. Paid in cash for this valuable information, he uses some of it to buy jewellery for his avaricious wife.
"Bob le Flambeur," Bob the high-roller, Bob the Montmartre legend whose style was so cool, whose honor was so strong, whose gambling was so hopeless, that even the cops liked him. Bob le Flambeur ("Bob the Gambler", although a more idiomatic translation would be "Bob the high roller") is a 1955 film from France, directed by Jean-Pierre Melville. Even though it is similar to other films of its time, Bob Le Flambeur is a wonderful film and adds an interesting, sympathetic character to a story that's been told many times before.