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.
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.