Toc toc bada-Tou Doum ... Our favorite Belmondo available on Netflix

Jean-Paul Belmondo in the movie Stavisky.

-

• The Magnificent

  ,

  The Professional

  ,

  Fear of the city

  … Fifteen films with Jean-Paul Belmondo have joined the Netflix catalog.

• These films are added to

  Breathless

  and

  Pierrot le fou

  , already available on the platform.

• The culture department of

  20 Minutes

  has selected its favorite Bébel…

Tou Doum and Toc toc badaboum… As of this Sunday, around fifteen films with Bébel join the Netflix catalog.

,

,

,

appear in this “Jean-Paul Belmondo Collection” and are added to

or

already available on the platform for several months.

A perfect pretext to dive back into the actor's filmography, by reviewing cult films

,

...) and by discovering the most unknown

(total flop when it comes out) or

... And because we all have a favorite Bébel, the journalists of the culture department of

take the opportunity to dive back into their memories and deliver their viewing recommendations.

"" The Professional ", a moving film"

Benjamin Chapon, Head of Culture and Media at

“

is above all great music by Ennio Morricone.

Oh yes, the one from the Royal Canin ad there?

Well,

is above all a great scenario signed Jacques Audiard.

Ha yes, the story all blown up to the 

 at the time of Françafrique?

Well, anyway,

is above all a great Belmondo.

Ha yes, is it good with this film that he was not even nominated for the Caesar?

In short,

 is a great adventure film like no other.

We're not going to pretend we're not spoiling.

The film became cult because in the end, the hero in the spotlight, after taking revenge, is killed with a burst of submachine gun in the back.

This scene, filmed in a rear dolly from a chopper, closes a cold film, with a silent hero and an ultra-rigorous staging.

And yet, it upsets, this end.

I even know some who cried.

There you go,

is above all a moving film.

"

"A" Magnificent "balance between action and self-mockery"

Caroline Vié, film journalist 

: “I owe

Le

many laughs and a scar on my forehead.

Rarely has Jean-Paul Belmondo (with whom I was very much in love but I was 9 years old) has found such a beautiful balance between action and self-mockery than in this comedy in which he seduces Jacqueline Bisset.

The staging of Philippe de Broca, who co-signed a clever screenplay with Jean-Paul Rappeneau and Francis Veber, mixes reality and fiction like the appearance of the housekeeper of the hero writer in the middle of the shooting that he writes.

I did the same by opening my head on the steps of the metro at the exit of the screening, no doubt to reproduce the delusional scene where blood flows freely in a staircase in the film.

"

The seventies charm of "Peur sur la ville"

Fabien Randanne, culture and television journalist:

“The memory goes back to the days of

on TF1, in the early 1990s. I was not 10 years old, too young to meet the disturbing Minos on the screen.

This serial killer sowed

, giving its title to the film by Henri Verneuil.

Jean-Paul Belmondo played the investigator after him, never paralyzed by the jitters.

I have not escaped the collective fascination generated by his crawling on the roofs of Galeries Lafayette or the metro.

I saw the film again about fifteen years ago.

The dread had dissipated, but the charm remained intact.

The intrigue woven into the Parisian geography fed my fantasized vision of the capital where I ended up settling.

When I joined

, the editorial staff was on Boulevard Haussmann: I found myself surveying the sets of the film, the seventies aesthetic of the Auber station not seeming to have moved from an orange tiling.

At the same time, I was discovering giallo, this sub-genre of Italian cinema from the 1970s. I devoured these thrillers where murderers are leather-gloved and crimes stylized.

As in

, clearly under transalpine influence.

"

The impossible love story of "Léon Morin priest"

Anne Demoulin, culture and series journalist

 : “A pas de deux where everything can waver! 

, adaptation of the Prix Goncourt by Béatrix Beck in 1952, follows the story of impossible love between Barny (Emmanuelle Riva), a young communist widow and a handsome resistant priest (Jean-Paul Belmondo).

Barny visits her every evening and engages in heated debates about faith and the call to God.

From the gate of a confessional to a ray of light which divides the room through the railing of a staircase, the breathtaking staging of Jean-Pierre Melville constantly reminds them that any physical rapprochement is forbidden to them.

The heroes' internal combat is replayed on a large scale in the historical context of the film, namely the German Occupation, with its small cowardice, its daily worries and its terrible sorrows.

Melville meets Belmondo for the first time on the set of

where the filmmaker makes a cameo out of friendship for Godard.

He goes to the set of

de Vittorio De Sica to convince the actor, initially reluctant, to don the cassock.

Rightly, Jean-Paul Belmondo, completely inhabited, signs in this funny, spiritual work and tinged with feminism his most beautiful performance.

"

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