{"id":13320,"date":"2026-10-19T10:00:00","date_gmt":"2026-10-19T10:00:00","guid":{"rendered":"https:\/\/mailnewsgroup.com\/ohmr\/?p=13320"},"modified":"2026-10-16T18:37:29","modified_gmt":"2026-10-16T18:37:29","slug":"a-cold-blooded-killer-meets-his-match","status":"publish","type":"post","link":"https:\/\/mailnewsgroup.com\/ohmr\/a-cold-blooded-killer-meets-his-match\/","title":{"rendered":"A Cold-Blooded Killer Meets His Match"},"content":{"rendered":"
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\n \t<\/i> Read Time:<\/span>8 Minute, 20 Second <\/div>\n\n <\/div>

MOVIE REVIEW
\nFlic Story<\/strong>
\n –  <\/strong> <\/strong> <\/strong> <\/strong><\/p>\n

Genre: <\/strong>Crime, Drama, Thriller, Film Noir
\nYear: <\/strong>1975, 2026 Blu-ray
\nRuntime: <\/strong>1h 52m
\nDirector: <\/strong>Jacques Deray
\nWriters: <\/strong>Jacques Deray, Alphonse Boudard, Bénédicte Kermadec; based on the memoir by Roger Borniche
\nCast: <\/strong>Alain Delon, Jean-Louis Trintignant, Renato Salvatori, Claudine Auger, Maurice Biraud, André Pousse, Mario David, William Sabatier, Maurice Barrier, Paul Crauchet
\nWhere to <\/strong>Watch: available October 20, 2026; pre-order your copy here: www.kinolorber.com<\/a> or www.amazon.com<\/a><\/p>\n

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RAVING REVIEW: <\/strong><\/strong><\/strong>Police work in movies usually involves a remarkable amount of excitement for a profession that, in reality, requires exhausting patience. Suspects don't conveniently appear when needed, informants aren't particularly dependable, and spending hours waiting for something to happen is hardly unusual. Jacques Deray's 1975 French crime thriller FLIC STORY understands this better than most, presenting a methodical pursuit of one of France's most notorious criminals without pretending that every moment of the investigation needs to be exciting. It's an interesting approach, though the film occasionally tests our patience as much as it does its protagonist's.<\/p>\n

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Based on the memoir of real-life French detective Roger Borniche, the film takes us to postwar France, beginning in 1947 when Émile Buisson (Jean-Louis Trintignant) escapes from a psychiatric institution and returns to a criminal underworld still adjusting to the aftermath of the German occupation. Buisson is an exceptionally dangerous individual, demonstrating little hesitation when violence becomes necessary or someone threatens his freedom. Roger Borniche (Alain Delon), a police detective tasked with bringing him into custody, approaches law enforcement in ways that often put him at odds with colleagues who prefer far more aggressive methods.<\/p>\n

The casting immediately makes this an intriguing proposition. Delon and Trintignant were two of French cinema's most recognizable actors, and watching them occupy opposing sides of the law lets Deray explore two very different personalities without relying on constant confrontations. Rather than manufacturing an elaborate psychological rivalry, he allows the investigation itself to establish their relationship. Much of the film follows their separate activities, creating an unusual dynamic in which the audience becomes familiar with both men long before the distance between them begins to narrow.<\/p>\n

Trintignant is particularly impressive as Buisson, portraying a criminal whose capacity for violence is all the more unsettling because he carries himself so casually. He doesn't rely on extravagant displays of anger or theatrical intimidation to establish the character's dangerous nature. His measured delivery, controlled expressions, and ability to shift from an otherwise ordinary conversation into something threatening make him genuinely uncomfortable to watch. This portrayal of criminality has very little romanticism, and the film is considerably stronger for refusing to turn Buisson into an entertaining outlaw.<\/p>\n

Delon, meanwhile, brings his familiar composure to Borniche, although his performance is understandably less attention-grabbing. He plays a detective who values professional conduct and generally believes the people he pursues should go through the justice system rather than face whatever punishment the police deem appropriate. This distinction becomes especially important given the period in which the story takes place. The French police force emerging from the Second World War carried its own complicated institutional history, and Deray uses Borniche's disagreements with his colleagues to establish some of the ethical uncertainty surrounding his profession.<\/p>\n

I particularly appreciated that the film doesn't attempt to disguise the less glamorous elements of the investigation. Surveillance, questioning, information gathering, and following leads take up a considerable portion of its running time. Deray understands that pursuing a dangerous criminal involves significantly more than pointing a gun at someone, and his commitment to these details gives the film a convincing procedural identity. The occasional bursts of violence are therefore more effective because they aren't treated as routine entertainment. When Buisson becomes dangerous, the consequences feel immediate rather than just another opportunity to give the audience an action sequence.<\/p>\n

That commitment to realism does come with a noticeable drawback. At 112 minutes, FLIC STORY sometimes gets so caught up in documenting the investigation that it loses some dramatic momentum. Certain stretches involving the search for Buisson cover familiar territory without providing much additional insight into either character. The film also doesn't always communicate the passage of time well, especially given how extensively the real investigation unfolded. A stronger sense of the years slipping away would've made Borniche's determination and the prolonged nature of his assignment even more convincing.<\/p>\n

The relationship between Borniche and Catherine, played by Claudine Auger, adds a more personal dimension to the detective's professional responsibilities. Auger is a welcome presence, and their scenes together offer a change from the otherwise masculine environment of police stations, criminal associates, and institutional disagreements. Unfortunately, Catherine isn't developed with quite the same attention afforded to the two principal characters. Her involvement helps illustrate the personal consequences of Borniche's increasingly demanding work, but the screenplay doesn't give her enough independence to make that relationship especially memorable.<\/p>\n

Deray is on considerably firmer ground when exploring the criminal environment surrounding Buisson. Renato Salvatori, André Pousse, and the supporting ensemble create a world where loyalties are often driven by self-preservation rather than friendship. Criminal interactions are rarely comfortable, and the possibility of betrayal hangs over their dealings. This atmosphere helps distinguish FLIC STORY from crime pictures that present organized criminal activity as an appealing alternative to conventional society. These people are dangerous, often unpleasant, and generally aware that their circumstances can deteriorate without much warning.<\/p>\n

Visually, the film benefits enormously from its period setting. Cinematographer Jean-Jacques Tarbès gives the Parisian streets, cramped interiors, and police facilities an appropriately weathered look, capturing a city still connected to the difficulties of its recent past. The cars, clothing, architecture, and surrounding environments establish the late 1940s without drawing unnecessary attention to the production design. The presentation has an appealing roughness that complements Deray's straightforward direction, especially as the investigation moves beyond the police station.<\/p>\n

Claude Bolling's music also deserves recognition for contributing to the film's distinct French crime atmosphere. His score accompanies the investigation without overwhelming its quieter passages, letting the music and period detail reinforce the setting. Deray's approach inevitably invites comparisons to Jean-Pierre Melville, particularly given Delon's association with LE SAMOURAÏ and UN FLIC. However, FLIC STORY has a somewhat different personality. Its interest in the practical mechanics of police work gives it a less abstract quality, even when its visual restraint recalls the filmmaker's influence on French crime cinema.<\/p>\n

What prevents the film from becoming truly exceptional is the relative simplicity of its central characters beyond their immediate professional identities. Trintignant establishes Buisson's ruthlessness convincingly, but the screenplay provides limited opportunities to explore the man beyond his criminal behavior. Borniche fares better through his professional disagreements and personal life, though Delon's natural charisma occasionally sustains our interest more than the material itself. The two performances are strong enough to overcome these shortcomings, but a richer examination of their respective personalities would've given their opposition greater dramatic significance.<\/p>\n

Kino Lorber's October 20 Blu-ray release offers a particularly welcome opportunity to revisit this lesser-discussed collaboration between Delon and Deray. The presentation features a new HD master supplied by StudioCanal, sourced from a 4K scan of the original 35mm camera negative. The release retains the original French-language presentation with optional English subtitles and includes lossless 2.0 audio on a dual-layered BD50 disc.<\/p>\n

The supplemental material is another appealing aspect of this edition. Film historians Steve Mitchell and Nathaniel Thompson provide a new audio commentary, while Will Webb contributes a video essay titled FLIC STORY: A EUROCRIME PROCEDURAL. Both additions are especially appropriate for a film whose historical background and place within French crime cinema warrant further discussion. The theatrical trailer rounds out a reasonably focused selection of extras, giving collectors additional material without unnecessarily padding the package.<\/p>\n

FLIC STORY isn't quite the gripping thriller its combination of two legendary actors and a notorious real-life criminal initially suggests. Its measured storytelling occasionally works against it, and some supporting characters deserve more attention. Nevertheless, Deray has made a worthwhile crime picture distinguished by its refusal to glamorize either side of the investigation. Trintignant's disturbing portrayal of Buisson provides the necessary menace, while Delon's understated performance keeps the police procedural grounded. For viewers who appreciate French crime cinema and aren't expecting a relentless succession of action sequences, there's plenty here to enjoy, particularly in a genre that so often forgets how much of catching a criminal involves the tedious business of actually finding him.<\/p>\n

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[photo courtesy of KINO LORBER]<\/em><\/p>\n

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MOVIE REVIEW Flic Story –      Genre: Crime, Drama, Thriller, Film Noir Year: 1975, 2026 Blu-ray Runtime: 1h 52m Director: Jacques Deray Writers: Jacques Deray, Alphonse Boudard, Bénédicte Kermadec; based on the memoir by Roger Borniche Cast: Alain Delon, Jean-Louis Trintignant, Renato Salvatori, Claudine Auger, Maurice Biraud, André Pousse, Mario David, William Sabatier, Maurice Barrier, Paul […]<\/p>\n","protected":false},"author":1,"featured_media":13321,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/mailnewsgroup.com\/img\/0367\/0367919.jpg","fifu_image_alt":"","iawp_total_views":1,"footnotes":""},"categories":[],"tags":[],"class_list":["post-13320","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t