One of the french noir greats.The french have this amazing gift of seriousness and tongue-in-cheek spoof. Alain Delon and Jean-Paul Belmondo are a matched pair and two of Frances best actors of their era (film came out in 1970). They are natty and wear stylish Borsalino fedoras -male beauties of a bygone era. Borsalino is as close to ballet as a gangster film can get. There is a slow-motion fight scene early on between Delon and Belmondo may be the campiest, funnest, funniest self-effacing bit of acting and filming that you will ever see. The fight results in a male bonding that is embarrassingly adolescent male and reminiscent of Mark Twain's Huck and Tom. Catherine Rouvel is the perfect siren and femme fatale. There are some other great french character actors. Add to this the immortal jazz score by Claude Bolling and you have the ultimate multimodal entertainment. But it is a gangster film: so violence is not spared; but it is is fabulously choreographed and much more instructive and self-mocking than gratuitous. These guys are gangsters after all. There are such people. It is always horrifying to know that sociopaths actually have fun doing with they do (think: The Godfather, Bonny and Clyde, Chinatown). Life is random, adventure, consumption and combat for them. They are the only people that matter in their world. All others are merely in the way. The closest American film in existential drift , though, that I can think of is The Big Sleep; and Borsalino is equally great it its own way.