best film: Alain Delon has eleven (11) total archiveable films and all but three (3) deserve at least a glance at this category. The heavyweights and serious contenders in this category are numerous as well. One might as well start with the Luchino Visconti collaborations: Rocco and His Brothers and The Leopard. The Leopard was made at the height of the era for the epic genre – Visconti’s masterpiece stakes a legitimate claim to be named one of cinema’s most beautiful films. As if those two big films were not enough, the Jean-Pierre Melville Delon films are all astonishing, with Le Samouraï leading the way. L’Eclisse is the magnificent finale to Antonioni’s Incommunicability Trilogy with L’Avventura and La Notte. Delon is barely in the first 50 minutes – again typical of Antonioni – but Delon makes the most of his time.

Delon as Tancredi Falconeri in Luchino Visconti’s The Leopard
best performance: It is between Rocco and His Brothers, Le Samouraï, Purple Noon as far as Alain Delon’s best single performance is concerned. Delon plays Rocco – the center of Visconti’s brilliant sort of Greek tragedy. It is a saga about five brothers – the Parondi brothers – it covers all five brothers with their own chapters (but they intersect of course a great deal) over the course of a decade. It is ambitious, powerful storytelling and Visconti pairs that with a handsomely mounted large cinematic canvas. The every so slight knock on Delon would be that he does not deliver the best performance in Rocco (Girardot), L’Eclisse (Monica Vitti) or The Leopard (Burt Lancaster).

Delon alongside Annie Girardot as Nadia. At the 114 minutes mark is the very strong cathedral set-piece sequence – the rooftop of Milan’s Duomo. Visconti creating an angle with the camera to create a rich backdrop to the drama happening in the foreground. Girardot and Delon give the best performances in the film

Purple Noon. Delon does Tom Ripley and he is sublime. Here he is very expressive – unlike Le Samourai or L’Eclisse. This is a different kind of a beautiful vacant character.
stylistic innovations/traits: Alain Delon is just about perfect looking and he used those looks (and certainly underrated talent) to carve out a astonishing run from 1960 to 1967. He would continue on with high quality work until 1976 where he would make his last archiveable film at relatively young age (just past forty years old) for an actor who did not retire or die young – but it really that stretch from 1960 to 1967 – at the height of cinema’s long history – that he will be remembered for. Remarkably, Delon was a French actor (the best of all-time) who worked during the height of the French New Wave (1959 to 1967) yet does not have an archiveable film with either François Truffaut or Jean-Luc Godard. Perhaps Delon’s looks diminished a little when he turned forty – or perhaps he just lost interest a little – or maybe it was just because his trusted collaborators retired, or passed away (Melville passed in 1973, Visconti in 1976). Still, despite the relatively short stretch of time – Delon left his mark on cinema history. His top five is enviable – and spilling out of that top five is his work in The Leopard and two winners from Melville (The Red Circle and Un Flic) to flank their work together in Le Samouraï
directors worked with: Jean-Pierre Melville (3), Luchino Visconti (2), René Clément (1), Michelangelo Antonioni (1)

Delon could most definitely play ice cold stoic – here in Jean-Pierre Melville’s Le Samouraï.
top five performances:
- Rocco and His Brothers
- Le Samouraï
- Purple Noon
- L’Eclisse
- Mr. Klein
archiveable films
1960- Purple Noon |
1960- Rocco and His Brothers |
1962- L’Eclisse |
1963- The Leopard |
1965- Once a Thief |
1967- Le Samourai |
1970- The Red Circle |
1971- Red Sun |
1972- Un Flic |
1973- Scorpio |
1976- Mr. Klein |
In his prime, one of the most handsome and talented actors, a total package like Brando, Newman and Washington (who surprisingly hasn’t been mentioned yet). Gabin is probably an even greater actor than Delon in my book.
Best Tom Ripley for me. What do you mean by “Here he is very expressive – unlike Le Samourai or L’Eclisse”.
It’s been a long time since I watched L’Eclisse, but I remember him running around and talking a lot in that film how is that not “expressive”. I think I need to rewatch that film.
But I recently saw Swimming Pool, it’s not among his best films but definitely recommendable and Delon is pretty good in it. Have you seen it?
@Alt Mash – Delon is more detached (a choice for his character – not a criticism) in L’Eclisse, I have seen Swimming Pool – but need another rewatch.
Wow, didn’t expect this high of a jump, but certainly deserved from Delon. He’s got some other good movies that you should see directed by Henri Verneuil and Jacques Deray. I would recommend “The Swimming Pool”, “The Sicilian Clan” and “Any Number Can Win”
@George – I second The Swimming Pool otherwise known as La Piscine (1969) as worthy of a viewing. It has Delon working with Maurice Ronet again. They actually have a similar dynamic to their characters in Purple Noon (1960). Its currently available on Criterion
@Malith – Got it – sorry- I misunderstood. Should be fixed now
I have 2 questions here
1. What’s your review of his performance in The Leopard? I think it’s one of his strongest.
2. How do you compare him to Jean Louis Trintignant? Trintignant has same strengths as Delon. Both can be extremely internalized and expressive as well. But i find Trintignant a far superior actor. Trintignant’s top 3 (or 5) would be stronger. The Conformist is a sure set top 25 male acting performance imo. Its also a stronger film than The Leopard. Ditto about Kieslowski’s Red.
@M*A*S*H- 1. I have some notes on The Leopard page, but obviously have his work in The Leopard outside of his top 5 2. Hmm- not sure I’d agree that’s accurate on Trintignant.
I love seeing Delon ranked this high, this resume insane. I think he has 7 films MS or higher
Purple Noon (1960) – MS
Rocco and His Brothers (1960) – MP
L’Eclisse (1962) – MS
The Leopard (1963) – MP
Le Samourai (1967) – MP
Le Cercle Rouge (1970) – MP
Mr. Klein (1976) – MP/MS
If I wad to rank every performer from France, I think I would probably pick four or five French women before getting to a man. If forced to choose a “best French actor of all time”, I might give to Léaud, but Delon is a very valid choice and it’s a hard one to argue against. Depardieu has a much weaker filmography, but I think there’s an argument to be made in his favor as well. As regards Delon, I haven’t seen Purple noon yet, so who knows, that one may sway me a little bit. My biggest problem with him is, and this is purely a personal pet peeve, that some of his most important performances are dubbed, which is big turnoff for me. He’s dubbed in three of your top four performances. This is something that’s always bothered me about Italian cinema from the 60s and 70s, but like I said, it’s a personal fixation of mine and I try my best not to hold it against Delon because it’s definitely not his fault.
Well, I really like him and he’s maybe my favorite french actor ever (really underrated here in France because he’s subtle) but he’s neither the most talented (Depardieu the French Brando, so effortless & Dewaere the French method actor) nor the most iconic (Gabin the Godfather & Belmondo the most popular).
So it’s a weird choice. Still put Belmondo in front of him (the face of the Nouvel vague + a really good prototype of Tom Cruise).
My top 10 of his performances :
1/ Le Samouraï
2/ Plein Soleil
3/ Rocco et ses frères
4/ Le Guépard
5/ Monsieur Klein
6/ Mélodie en sous-sol
7/ Le Cercle Rouge
8/ L’éclipse
9/ Le Clan des Siciliens
10/ La Piscine
@KidCharlemagne- Thanks for the share – these elements can all be part of the equation – but only small parts – certainly when doing a list like this you can marry yourself to talent, the most iconic, or heaven forbid the most popular.
I understand. It’s a good choice but I don’t think he’s the French GOAT haha
my brother an i were sure joaquin phoenix was going to be on top 25, hopefully he is on top 30
@Tozoco – I don’t know whether or not Drake does this with actors but he has a 10-year moratorium for directors. If he did do this for actors that would mean Joker (2019) would not count and I think its his 2nd best film after The Master (2012) which is one of the greatest performances ever
but, for example, if an actor has the best performance of all time in a movie, and the rest of his perfomances are okay, does that make him like the best actor or an okay actor? because Joaquin Phoenix has one of the best performances of all time, but the rest of his performances are not great, so that puts him lower on drake’s list?
@Tozoco – This is tricky. The extreme case is Maria Falconetti, who has the greatest performance by a female actor and has no other archivable acting credits. Drake ranked her 29th in the actresses list, but I think one could argue she should be higher and another that she should be lower. Like I said, it’s tricky. As for Joaquin Phoenix’s body of work, while I do believe that his performance in The Master is far and away his best, to call his other work “not great” is a disservice to his talent. He’s magnetic in Joker, Her, You Were Never Really Here, C’mon C’mon, Inherent Vice, Beau Is Afraid, etc., even if these films are lesser works than PTA’s magnum opus.
it was just an example, I know that Phoenix is great in joker, but his perfomance in The Master is his best
I’m with Drake. Phoenix doesn’t have the depth to be top 25 (yet?) or to be above Leo, which I believe you said on the Leo page. The list is rightfully more than just peak performance. If we were going based off of just peak performance then Peter O’Toole wouldn’t have escaped the single digits, yet he is still yet to be seen at 25 (and is surely a ways away). So Phoenix isn’t alone in this. Outside of Toole… PSH, Kinski, Belmondo, Lorre, Denzel and maybe a couple others are actors who have yet to appear with performances that are at or close to Phoenix’s work in The Master (though I think 1 or 2 of those 6 guys I mention above should have already appeared by now, I suspect they are close, and regardless way the point still stands)
“if an actor has the best performance of all time in a movie, and the rest of his perfomances are okay, does that make him like the best actor or an okay actor?”
If someone delivers the best screen performance known to man, then they are a great actor, regardless of whatever the rest of their career looks like
@Tozoco
but, in my opinion, Phoenix perfomance in The master, is better than any Leo’s perfomance in any movie, so I thought Phoenix would be on a higher ranking than Leo
@Tozoco – I agree Leo does not have a performance at that level but Leo’s overall filmography is clearly superior. He has 6 films that are at or at least near MP level.
Once Upon a Time in Hollywood – MP
The Revenant – MP
The Departed – MP
Inception – MS (I haven’t seen this one in years so need another viewing)
The Aviator – MS
Django – MS
I think The Master (2012) is superior to any of these but what is Phoenix’s 2nd best film?
I personally would say Joker which I think is MS but would rank it below the above 6 films
What is your grade for Le Samourai currently?
@Alt Mash- Either a high end MS/MP or a low end MP
@Drake what is your current grade for Le Cercle Rouge?
@LeBron Smith – HR for Le Cercle Rouge right now- but I’m trying to get to it again in the next month or so
@Drake That’s what I have it at as well. I’m hoping to give it another viewing soon. Some friends of mine all have it as 4.5 stars (so MS using your system). Hoping I missed something the first time around.
@Drake@LeBronSmith – please keep me posted when you do. Pre-Melville Study I had Le Samouraï (1967) and Army of Shadows (1969) comfortably ahead of Le Cercle Rouge (1970). I still have Rouge behinds the other 2 but the gap is considerably smaller. It does not have as many stunning compositions as Army of Shadows or Le Samouraï. However, the camera movement, use of intercutting, mise en scène, and framing are all impressive. Similar to Le Samouraï the dialogue is (almost as) sparse. The masterful approximately 25 minute heist scene is shot in almost entire silence. Just writing this I think I have convinced myself to watch again this week.
Le Cercle Rouge (1970)
Directed by Jean Pierre Melville
Notes:
1:35 car driving fast through the street late at night, street lights on in otherwise dimly lit road
1:45 light flickers on and off faces of two men in back of car
2:33 the two men are literally chained together as we learn one is Inspector Mattei (Bourvil) and the other is a criminal named Vogel (Gian Maria Volonté)
4:33 nice zoom out on train
6:34 intercut to Corey (Alain Delon) who is serving his final day of a 5 year prison sentence
11:20 Corey is given photos of attractive woman by prison guard as he leaves
14 min Vogel makes daring escape from train leading to manhunt
17:37 slow fade out
17:52 dim lighting in quiet hallway
18:49 Polanski style peephole shot
20:27 intercutting as Corey stands near bedroom door of his ex-girlfriend, who is now the mistress of the Big Boss, named Rico
21:21 Corey takes cash and gun from safe but leaves pictures of woman
25:04 overhead shot of pool table, before Corey disposes of Rico’s 2 hired thugs
27:48 Corey hides gun in trunk
28:18 gorgeous painterly shot as law enforcement begins manhunt for Vogel, zoom out to long shot
29:32 zoom in as they begin line search
32:53 nice background/foreground work
35:32 great use of color in mise en scene, matching chairs in Diner
36:57 more great use of intercutting
42:04 great sequence with Corey and Vogel face to face, like a Western stare down
43:55 I love the casual toss of cigarettes and lighter between them
44:25 zoom in on faces 1 at a time
47:34 Corey ambushed by 2 thugs and forced to drive to remote location
48:50 to 48:55 Vogel’s voice/presence instantly breaks the triangle composition
50:02 low angle shot as Inspector meets with Chief of Police
50:18 “all men are guilty, they’re born innocent, but it does not last” the Chief of Police is hilarious
55:25 great foreground/background work and use of lighting
55:47 beautiful silhouette shot
57:12 amazing composition of dancers in Jazz Club with camera panning circular
1:04:04 alcoholic ex policeman named Jansen shown for the first time as he is going through intense alcohol withdrawal and hallucinating, Vogel tells Corey about him as they will recruit him there are scene in Bob the Gambler with similar looking colors and patterns
1:14:50 “put him on ice” great line
1:19:11 rapid zooms used during the casing scene as the trio begins their work on the Heist
1:21:21 Car parked in foreground before some target practice in the woods in the middle of nowhere
1:23:17 framing using spiral staircase
1:26:22 to 1:26:32 another intercut between Jewelry Store lights going off and the ex-cop part of the trio with Corey and Vogel who prepares himself
1:27:58 close up on preparation work
1:32:44 overhead shot from top of spiral staircase
1:34:54 gorgeous silhouette work with blue/purple sky
1:43:08 build up tension deflated briefly as guard is knocked out while ticking noise continues in background
1:44:04 shallow focus as Jansen walks down street
1:50:39 shot reverse shot as Jansen shoots his target resulting in montage of all the glass cases deactivated leading to Corey and Vogel securing all the jewelry
1:56:30 police watch footage of the robbery but the men were in masks
2:07:25 frame in frame as Inspector enters his apartment and feeds his cat
2:08:32 another beautiful composition in Jazz Club along with zoom over to Corey
2:09:07 Corey’s face half covered by shadow as beautiful waitress looks at him seductively
2:09:45 Inspector working undercover meets with Corey in Jazz Club
2:11:51 extreme close ups on faces of Corey and Vogel
2:12:44 camera pans upward after Corey enters elevator
2:15:24 Corey meeting with undercover Inspector again, this time at house not realizing he’s walked into a trap
2:16:11 Vogel gives Corey tip, but it is too late as cops have the place staked out
2:17:00 last minutes Corey and Vogel gunned down
2:18:35 “all men (are guilty)”
Thoughts
This film really improves with multiple viewings even though I thought highly of it the 1st time
The film’s brilliant opening quote, a fake quote that Melville made up, highlights the films theme of fate and chance, this segues into the first scene where two men are literally chained together as we learn one is an
Inspector named Mattei (Bourvil) and the other is a criminal named Vogel (Gian Maria Volonté). Similar to Michael Mann’s magnum opus, (1995) there is an interdependency between the cops and criminals they are chasing
Furthermore, in regard to this theme of fate between characters, Melville uses intercutting in an extremely effective manner; there are several sequences where Melville uses intercuts between two characters who are about to meet, most noticeably in the first meeting between Corey and Vogel.
The lighting is great in many scenes starting with the opening as light flickers over the faces of the Inspector and then Vogel, there are many sequences in dimly lit spaces, many of the conversations of characters strategizing occur in dark rooms, this true for both the police and the criminals
Great use of lighting which includes shadows, dimly lit streets, and close up shots of faces half covered, half obscured
Zooms are used effectively throughout; I especially am impressed by the zoom outs which add context to the visuals
The 25 min Heist sequence which is only topped by Rififi (1955) and is reason to see this film by itself though thankfully the entire film is masterful as well as expertly paced though some might find it a little slow and they would not exactly be wrong, however, the built up is necessary for establishing all the film’s key players over the course of the first 20 min. In fact, by the 20 /25minute mark almost all the relevant characters had been introduced
I love the criminal partnership between Corey and Vogel, their initial showdown might seem a tad bit over the top with the Western like showdown, thankfully Delon and Gian Maria Volonté are as cool as could be, otherwise it does not work
There is a meta-aspect of Melville’s criminal characters and characters in general, its as if they are aware they are in a movie, it’s subtle though, it isn’t Belmondo speaking into the camera in the opening of Breathless (1960)
Lack of music/soundtrack early in the film immerses you into the film then the music is used more as the film progresses
Many of the Melville staples; Bars, Pool halls, nightclubs, trench coats, fedoras, stoic lead character, etc.
This might be the most well edited Melville film; he uses intercutting to perfection in establishing various relationships
The dialogue is fairly sparse, particularly the Heist Scene, instead Melville lets the camera do much of the work
Verdict: MP