“The fatalism is certainly there. The stoicism rears its head at times. The sense of distrust pervasive among both the audience and the characters is developed brilliantly. Yet, there’s also a lack of deep-set purpose in these men when compared to Melville’s characters later on. Individual ethics are less isolated and not such an obvious focus as in the other films.” (Le Doulos)

“Since Melville peddles in tragedy as much as he does character-oriented crime tales, the expectations for the protagonist’s future should be limited, but if you’re watching intently then you’re probably in his corner to a certain extent. The existential wave had not yet completely fallen over Melville by this film, but where Gu goes and where he has to go become basically identical.” (Le Deuxième Souffle)

“I don’t think it’s really possible to understand Delon’s Melville characters. They neither beg for attention nor affection. They are singularly concerned with performing a task. Emotions, while being hinted at and thus present on some level, are shrugged off in favor of a job, an existence. It’s not just the professionalism to admire, but the focus and confidence that preparation will lead to the proper fate. Not success, necessarily. Not even continued life. The goal is performance.” (Le Cercle Rouge)