Farewell, Friend
(1968)
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Farewell, Friend
(1968)
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Cast overview, first billed only: | |||
Alain Delon | ... |
Dino Barran
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Charles Bronson | ... | ||
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Olga Georges-Picot | ... |
Isabelle Moreau
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Bernard Fresson | ... |
Insp. Antoine Méloutis
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Brigitte Fossey | ... |
Dominique 'Waterloo' Austerlitz
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Ellen Bahl | ... |
Martha
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Jean-Claude Ballard | ... |
A police inspector
(as Jean-Claude Balard)
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Michel Barcet | ... |
Insp. Muratti
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Stéphane Bouy | ... |
Man from Neuilly
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André Dumas | ... |
Personnel director
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Steve Eckardt | ... |
Big man
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Marie-Noëlle Gresset | ... |
(as Marie-Noelle Gresset)
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Lisette Lebon | ... |
Gilberte
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Marianna Falk | ... |
Catherine
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Sandrine Schmidt |
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After serving together in the French Foreign Legion, a mercenary and a doctor leave the service and go their separate ways. Later, they are reunited by a coincidence. The doctor has made a promise to a friend which involves his breaking into a safe to return some improperly removed bearer bonds. When he hides in an office building to accomplish his task, he is followed by the mercenary, who is out to steal the contents of the safe. Locked inside the building together, they reluctantly agree to cooperate in cracking the safe. However, surprises await them both and in the end, they both must rely on 'the honor among thieves' to straighten everything out. Written by Tad Dibbern <DIBBERN_D@a1.mscf.upenn.edu>
This movie is definately one of my favourite movies in it's kind. The interaction between respectable and morally uncorruptable characters is an ode to chivalry and the honour code amongst thieves and policemen. It treats themes like duty, guilt, word, manipulation and trust like few films have done and, unfortunately, none that I can recall since the death of the 'policial' in the late seventies. The sequence is delicious, down to the essential, living nothing out and thus leading the spectator into a masterful plot right and wrong without accessory eye catching and spectacular scenes that are often needed in lesser specimens of the genre in order to keep the audience awake. No such scenes are present or needed. The argument is flowless and honest to the spectator, wich is an important asset in a genre in wich the the suspense is often achieved through the betrail of the audience. No, this is not miss Marble... A note of congratulations for the music is in order A film to watch and savour every minute, not just to see.