This is a Tavernier for discriminating tastes. The city of Lyons has been photographed lovingly in this film. Only at the end, father and son seem reconciled with one another. This movie is a psychological portrait of a man at the crossroads of despair. Rochefort is another actor that always surprises. Jean Rochefort, as the inspector, is also good. Noiret is because with an economy of gestures he builds the character. This is another example of how good an actor M. What comes to the surface is the inner turmoil that Descombes is experiencing. This actor with such subtlety, underplays the clockmaker, and the father. Pilippe Noiret was born to play Descombes. We watch as Descombs descends into hell because he can't comprehend what has triggered his son into doing what seems repugnant to him and his dignity. We see this father come home and encounters newspaper reporters and he goes into his son's room and lays down in the bed that perhaps the younger man has not slept in for quite some time. He tries to understand for whom and why.A Watchmaker finds out. His son has grown up and is not a child anymore. A Watchmaker finds out one day that his son has become a murderer. One can see clearly what's going on in Descombes' mind, at all time. Tavernier embraces the "old French cinema", as he shuns away the New Wave methods of story telling. Descombes, as he goes through the horror of understanding what had caused his son to commit the crime of which he is been accused of perpetrating. It shows a Tavernier more concerned with the character study of M. This might explain his direction of the film based in the novel by Georges Simenon's. Bernard Tavernier once confessed that the greatest influence in his life had been the work of directors Akira Kurosawa and Michael Powell.
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