Borsalino

1970
R
2h 5m

ÉVALUATION IMDb

6,8/10

5,2 k

MA NOTE

Jean-Paul Belmondo and Alain Delon in Borsalino (1970)

During the 1930s, in Marseilles, France, two small time crooks work for local crime bosses until they decide to go into business for themselves.

Liretrailer1 min 31 s

1 vidéo

99+ photos

Crime Drama

Dans les années 30, à Marseille, deux petits escrocs travaillent pour des parrains de la mafia locale jusqu'à ce qu'ils décident de monter leurs propres coups.Dans les années 30, à Marseille, deux petits escrocs travaillent pour des parrains de la mafia locale jusqu'à ce qu'ils décident de monter leurs propres coups.Dans les années 30, à Marseille, deux petits escrocs travaillent pour des parrains de la mafia locale jusqu'à ce qu'ils décident de monter leurs propres coups.

Voir l’information sur la production à IMDbPro

ÉVALUATION IMDb

6,8/10

5,2 k

MA NOTE

Voir l’information sur la production à IMDbPro

Prix
- 3 nominations au total

Anecdotes
The film was based on real life gangsters Paul Carbone and François Spirito. Alain Delon found the story in a book he was reading about French gangsters from 1900 to 1970. He produced the film looking for a vehicle for him to co-star with Jean-Paul Belmondo.

Gaffes
When François Capella (Belmondo) goes to the beach with Roch Siffredi (Delon), François wears his black swimsuit the wrong way around. His nipples are visible. The back is his front, and in some shots where he comes back with Ginette he has the swimsuit on the right side. In some shots he has the swimsuit on the wrong way again, which repeats.

Citations
Simone Escarguel: Do you think it may be dangerous for him?
Roch Siffredi: Women are always dangerous.

Connexions
Featured in Tango Bar (1987)

Bandes originales
Prends-Moi Matelot
Music by Claude Bolling
Lyrics by Jacques Deray and Jean-Claude Carrière
Performed by Odette Piquet

Commentaires des utilisateurs26

Commentaire

Commentaire en vedette

Better than average gangster movie.

Jacques Deray, who directed gangster genre movies almost exclusively, has achieved his most popular success (in America) with this movie. It was a stroke to combine the two leading men in roles which were cut out for each of them. Credit for this must go (in part, at least) to Alain Delon, who produced the movie. The very catchy, and hummable music for this movie was by the prolific composer, Claude Bolling, who collaborated with Deray on other films.

My only carping criticism is the length of the movie. I feel that about 15 minutes could have been trimmed in order to keep it moving.