class tous risques be one of the best gangster film noirs france have ever produce . perfect cast representlino ventura and a young jean paul belmondo ( who make a bout de souffle and godard thing and the same year ) and marcel dalio and a fine support cast while brilliant script by josé giovanni who also write le trou becker masterpièce the same year . what a year for him . while wonderful black and white cinematography by ghislain cloquet . and taut action and first class directing by claude sautet and who surpass jean pierre melville . whereas the latter film gangster movie with metaphysical pretension and which sometimes last more than two hour and claude sautet direct men of flesh and blood and and the presence of the two child add moment of extraordinary poignancy which melville have never be able to generate . and sautet avoids pathos and excessive sentimentality representthe last time ventura see his child and come down in the metro ( subway ) be a peak of restrained emotion . ventura portray a gangster whose die be cast when the movie begin . he think that he can rely on his former acquaintance and but they be all coward we be far from manly friendship dear to jacques becker ( touchez pa au grisbi ) which melville be to continue throughout the sixty sometimes abet by mean woman ( the film noir misogyny par excellence ) and live in a rotten microcosm and ready to inform on we be far from jean seberg simplistic behavior in godard opus . cloquet work wonder with the picture representthe scene on the beach in a starless night when the two child see their mother die after the shoot out with the custom officer be absolutely mind boggling . there a good use of voice over and which sautet only use when necessary while thus and the last line make the end even strong than if we have attend the scene . claude sautet have find a good niche and and he follow the class tous risques rule quite well with his follow up larme à gauche ( 1965 ) which feature ventura again and make a good use of a desert island and a ship . have he continue in that vein and france would have have a howard hawk . in his subsequent work and only max et le ferrailleurs ( 1971 ) show something of the brilliance he display in the first half of the sixty . he have become and from les choses de la vie onwards and the cinema de qualité director who use to focus on tender hearted bourgeois in such work a cesar et rosalie ( 1972 ) and vincent françois and paul et les autres ( 1974 ) or mado ( 1976 ) .