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      Michael Constantine, Father in ‘My Big Fat Greek Wedding,’ Dies at 94

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      He won an Emmy for his role on the TV series “Room 222” and played other many characters over the years before becoming known as the hit film’s patriarch.Michael Constantine, an Emmy-winning character actor known as the genially dyspeptic school principal on the popular TV series “Room 222” and, 30 years later, as the genially dyspeptic patriarch in the hit film “My Big Fat Greek Wedding,” died on Aug. 31 at his home in Reading, Pa. He was 94.His agent, Julia Buchwald, confirmed the death.Mr. Constantine, who began his career on the Broadway stage, was endowed with fierce eyebrows, a personal warmth that belied his perennial hangdog look, and the command of a Babel of foreign accents. Of Greek extraction, he was routinely cast by Hollywood to portray a welter of ethnicities.He played several Jewish characters, winning an Emmy in 1970 for the role of Seymour Kaufman, who presided with grumpy humanity over a fictional Los Angeles school on “Room 222.” Broadcast on ABC from 1969 to 1974, the show centered on an idealistic Black history teacher, played by Lloyd Haynes, who contended with a variety of issues, social and otherwise, at the racially diverse Walt Whitman High School.He also played Italians, on shows including “The Untouchables” and “Kojak”; Russians, as in the 1980s series “Airwolf”; a Gypsy, in the 1996 horror film “Thinner,” adapted from a Stephen King novel; and, on occasion, even a Greek or two.Mr. Constantine was possessed of a gravitas that often led to him being cast as lawyers or heavies. He played the title role, the night-court judge Matthew Sirota, on “Sirota’s Court,” a short-lived sitcom shown on NBC in the 1976-77 season.Mr. Constantine with Lloyd Haynes in the TV series “Room 222,” seen on ABC from 1969 to 1974. He won an Emmy for his portrayal of a principal who presided over a high school with grumpy humanity.ABCHe had guest roles on scores of other shows, including “Naked City,” “Perry Mason,” “Ironside,” “Gunsmoke” and “Hey, Landlord” in the 1960s, and “Remington Steele,” “Murder, She Wrote” and “Law & Order” in the ’80s and ’90s.On film, he appeared in “The Last Mile” (1959), a prison picture starring Mickey Rooney; “The Hustler” (1961), starring Paul Newman; the 1969 comedies “If It’s Tuesday, This Must Be Belgium” and “Don’t Drink the Water”; and “Voyage of the Damned” (1976).Mr. Constantine became known to an even wider, younger audience as Gus Portokalos, the combustible, tradition-bound father whose daughter is engaged to a patrician white Anglo-Saxon Protestant, in the hit 2002 comedy “My Big Fat Greek Wedding.”An immigrant who made good as the owner of a Chicago diner, Gus is an ardent amateur etymologist who can trace any word to its putative Greek origin. (“Kimono,” he concludes after pondering the matter, surely comes from “cheimónas” — Greek for winter, since, he explains in his heavily accented English: “What do you wear in the wintertime to stay warm? A robe!”)Gus is also a fervent believer in the restorative power of Windex, applied directly to the skin, to heal a panoply of ailments, including rashes and boils.“He’s a man from a certain kind of background,” Mr. Constantine said of his character in a 2003 interview with The Indianapolis Star. “His saving grace is that he truly does love his daughter and want the best for her. He may not go about it in a very tactful way. So many people tell me, ‘My dad was just like that.’ And I thought, ‘And you don’t hate him?’”“My Big Fat Greek Wedding,” which was written by its star, Nia Vardalos, and also starred Lainie Kazan as Gus’s wife and John Corbett as the man she marries, was a surprise international hit. It took in more than $360 million worldwide, becoming one of the highest-grossing romantic comedies of all time.Mr. Constantine reprised the role on television in “My Big Fat Greek Life,” a sitcom that appeared briefly on CBS in 2003, and on the big screen in “My Big Fat Greek Wedding 2” in 2016.The son of Andromache (Fotiadou) and Theoharis Ioannides Efstratiou, Mr. Constantine was born in Reading on May 22, 1927. His parents were Greek immigrants, and his father was a steelworker.He settled on an acting career early, an idea reinforced after a youthful visit to a friend who was studying acting in New York.“I just knew I belonged there,” Mr. Constantine told Odyssey, an English-language magazine about Greek life, in 2011. “They could make fun of this hick from Pennsylvania, but I just belong here — this is me.”The young Mr. Constantine studied acting with Howard da Silva while supporting himself with odd jobs, among them night watchman and shooting-gallery barker. He became an understudy to Paul Muni in the role of the character modeled on the famed defense lawyer Clarence Darrow in “Inherit the Wind,” which opened on Broadway in 1955.In “Compulsion” — a 1957 Broadway dramatization of Meyer Levin’s novel about the Leopold and Loeb murder case — Mr. Constantine took over the role of another defense lawyer from Frank Conroy just before opening night. (Mr. Conroy withdrew after suffering a heart attack during previews.)“Michael Constantine gives an excellent performance,” Brooks Atkinson wrote in The New York Times. “He avoids the sentimentality that the situations might easily evoke and plays with taste, deliberation, color and intelligence.”Mr. Constantine’s other Broadway credits include Anagnos, the director of the Perkins Institute for the Blind, in the original cast of “The Miracle Worker” (1959), and Dogsborough in Bertolt Brecht’s antifascist satire “Arturo Ui” (1963).Mr. Constantine’s first marriage, to the actress Julianna McCarthy, ended in divorce, as did his second, to Kathleen Christopher. His survivors include two sisters, Patricia Gordon and Chris Dobbs. A complete list of survivors was not immediately available.For all Mr. Constantine’s credits, for all his critical acclaim, it was for a single role — and for a single prop wielded in the course of that role — that he seems destined to be remembered.“I can’t tell you,” he said in a 2014 interview with his hometown paper, The Reading Eagle, “how many times I’ve autographed a Windex bottle.”Alyssa Lukpat More

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      ‘Azor’ Review: A World on Fire, Discreetly

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      In this low-key shocker set in Argentina in 1980, a Swiss banker travels through a world that he doesn’t seem to know is ablaze.Tendrils of menace creep through the unnerving drama “Azor,” snaking through every room and scene. It’s 1980 and a Swiss private banker and his wife are traveling through Argentina, taking in the sights while he tries to clean up a mess left by a missing colleague. Danger is everywhere — people have disappeared, are disappearing — though you wouldn’t necessarily know it from the mansions they visit, where the Swiss interlopers exchange pleasantries with the Buenos Aires elite, some of whom voice vague warnings. Others just smile knowingly, betraying their loyalties.A harrowing vision of evil from the inside, the movie tracks the banker, Yvan (Fabrizio Rongione), as he journeys through Argentina several years after armed forces overthrew the government of President Isabel Martínez de Perón. For most of Yvan’s clients, life seems to go on as before, with little to disrupt their cosseted indolence. With the junta ruling the country, the wealthy, murmuring about nothing much, sip drinks by their pools, tended by fleets of servants. Again and again, Yvan apologizes for the behavior of his missing colleague, René Keys (seen briefly in the opening), a confounding figure intensely disliked by some yet beloved by others.Written and directed by Andreas Fontana, making a formally precise, tonally perfect feature debut, “Azor” is a low-key shocker. It has you in its cool grip from the opening shot of a shambolic-looking Keys standing in suit and tie before a flat, blurred backdrop of jungle greenery. As the camera holds on him, he seems more ill at ease and his laughing smiles give way to unexplained agitation. He suddenly looks like a man searching for an exit. As the story unfolds, this perturbation suffuses the movie. It shapes every gesture, sidelong glance and oblique comment, turning an outwardly routine business trip into a mystery unlocked only through Keys.With its swampy air of unease and the figure of the enigmatic missing man, the key to the story as it were, “Azor” vaguely evokes films like Carol Reed’s “The Third Man” (written by Graham Greene), though without the narrative pulse and concerns or Hollywood glamour of that cloak-and-dagger thriller. (The name Keys recalls that of Edward G. Robinson’s claims adjuster, Keyes, in “Double Indemnity.”) Certainly “Azor” has a smattering of suspense-film essentials: hushed conversations, clouds of cigarette smoke, heavily armed soldiers. For his part, the colorless Yvan, with his stiff politesse and old-world firm, presents the very picture of a useful patsy.Fontana, who is Swiss but has lived in Argentina, takes a sideways, insistently oblique approach to intrigue. Rather than stuffing the movie with incidents, with clever turns and sexy characters, empty moralizing and political grandstanding, he has whittled it to the bone. There are no louche, swaggering spies in “Azor,” no dashing heroes, no swoony villains and very little of what could pass for Hollywood-style action. There is instead a lot of seemingly innocuous small talk, the kind often tucked in amid a movie’s narrative leaps forward. There’s chatter about Swiss schools, fine hotels, family castles, the good old days — all of which helps maintain the veneer of normalcy.Terrible things happen. Yet, for the most part, Yvan’s clients, with their money, landed estates and thoroughbreds seem largely indifferent to the evil informing their lives. The land, of course, was stolen long ago, though no one, Fontana included, puts it like that. Instead, when a sympathetic client (Juan Trench) takes Yvan and his wife, Ines (Stéphanie Cléau), on a ride, he speaks about a stand of trees planted by his great-grandfather. The client’s father called the area the grand boulevards, invoking Haussmann, the 19th-century French official who, in service of Louis Napoleon, remade Paris by razing slums and forcing out the poor. Fontana has landed his blow; the group rides on.Fontana doesn’t bludgeon you with explanations, declare his allegiances (they’re a given) or school you on Argentine history, which nevertheless comes into focus through the small talk and devious, sly looks, most notably in a terrifying scene with a Catholic monsignor (a fantastic Pablo Torre Nilsson). Fontana is asking you to look and to listen, and to really grasp what it means to behave as if the world isn’t on fire. Late in the movie, during a gala filled with laughing attendees, a zombie horde in gowns and black tie, Ines talks to an aristocratic doyenne (Carmen Irionda) about the peculiar dialect of Swiss private banking. One curious phrase means “to pretend you haven’t seen anything,” Ines explains, as she takes leisurely drags on her cigarette. “My husband does it very easily.”AzorNot rated. In French and Spanish, with subtitles. Running time: 1 hour 40 minutes. In theaters. More

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      ‘Small Engine Repair’ Review: Of Mechanics and Men

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      John Pollono directs and stars in an adaptation of his play that adds depth to the original text but also struggles in its translation from stage to screen.What happens in Manch-Vegas stays in Manch-Vegas. Just ask the men from “Small Engine Repair,” an adaptation of the play of the same name by the actor and playwright John Pollono. The film, which Pollono also directs, provides more depth than the original but still flounders in the translation from stage to screen.Frank (Pollono) calls together his longtime buds Swaino (Jon Bernthal) and Packie (Shea Whigham), middle-aged natives of Manchester, New Hampshire, who’ve fallen out because of a brawl. When a frat boy named Chad (Spencer House) joins what seems like a normal night of bro-ing, the darker intentions behind the gathering are revealed.Pollono’s film has the same grit as the play, which premiered Off Broadway in 2013. Pollono, Bernthal and Whigham deliver ace performances that humanize these puerile man-children without pardoning them. The dialogue is brutal: crass, racist, homophobic, misogynist. It’s The Testosterone Show. Though the play examined the men’s relationship to women, it lacked women characters; the film thankfully corrects that, introducing Frank’s ex Karen (Jordana Spiro) and daughter Crystal (Ciara Bravo).The film self-consciously cushions the trim content of the play, converting anecdotal moments in the dialogue into flashbacks. These additions more explicitly critique the characters for a 2021 audience with greater sensitivity to depictions of toxic men, but they’re largely distracting, highlighting how the film sits uneasily between the contained world of the play and the larger world the adaptation attempts to build. Ultimately, the story still feels unfinished, and Pollono’s direction falters in the film’s big twist, when it tries to balance horror and humor before its tidy resolution.Small Engine RepairRated R for gutter-mouth trash-talking. Running time: 1 hour 43 minutes. In theaters. More

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      ‘Dogs’ Review: Fish Out of Water

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      A city boy inherits land used by the Mafia in this unoriginal neo-western crime thriller from Romania.The city boy Roman (Dragos Bucur) is lured into the Romanian outback when he inherits 550 hectares of land from his recently deceased grandfather, a local “godfather” figure not terribly unlike those popularized by Mario Puzo. Though Roman arrives with the intention of quickly selling the miserable property for some extra cash, his sojourn is upended when a group of thugs headed by the smug, sinister Samir (Vlad Ivanov) come to play.A neo-western crime thriller in the grim, nihilistic vein of “No Country for Old Men,” “Dogs,” by the filmmaker Bogdan Mirica, sees Roman thrown into a violent, lawless arena with only a dilapidated shack as his fortress.
      His grandfather’s guard dog, a mangy mutt named Police, winkingly calls attention to the near-absence of law enforcement around these parts, while the two-man law enforcement squad, led by the aging Hogas (Gheorghe Visu), mostly turns a blind eye to the illicit activities afoot. It’s common knowledge, after all, that Roman has stumbled upon a property used for moonlit confrontations and the disposal of body parts — such as the dismembered foot we glimpse in the deceptively serene opening tracking shot.Indeed, human brutality unfolds against a backdrop of pastoral quietude, with the film’s most evocative moments making use of negative space — shadowy showdowns and unnervingly empty expanses of wildlife captured in wide screen — as well as startling sounds that break through the eerie silence.Yet “Dogs” doesn’t go much deeper than the platitude that seems to inspire its title — presenting as it does a merciless dog-eat-dog world without generating ideas of its own that might distinguish it from similar Wild West fare. One can imagine how the particularities of the Romanian bush might yield novel dynamics. Instead, “Dogs” underplays these elements and commits to the beats of the slow burn thriller in mostly generic form.DogsNot rated. In Romanian, with subtitles. Running time: 1 hour 44 minutes. In theaters. More

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      ‘Queenpins’ Review: Suburban Scammers

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      Two cash-strapped neighbors devise a multimillion-dollar coupon swindle in this mildly entertaining comedy.“Queenpins” might have been a snappy little comedy had it lost 20 minutes and found a point beyond glorifying grand larceny. Erasing the lead character’s smug-perky narration wouldn’t have hurt, either.Set mainly in suburban Phoenix, Ariz. — with pit stops in other dehydrated locations — the movie smiles on Connie (Kristen Bell), a cash-strapped coupon cutter whose bland good cheer masks a desperate longing for a child.“You’re trying to replace a baby with coupons,” her husband (Joel McHale), a withdrawn I.R.S. agent, accurately observes before largely disappearing from the story. Connie’s true partner, though, is JoJo (Kirby Howell-Baptiste), a bubbly neighbor and vlogger looking for a break. Together, they hatch a scheme to steal coupons from a printing facility in Mexico and sell them on YouTube. What could possibly go wrong?Written and directed by the husband-and-wife team of Aron Gaudet and Gita Pullapilly, “Queenpins,” inspired by actual events, can’t decide if its pink-collar criminals are fools or geniuses. Neither can the two men on their trail: a businesslike postal inspector (Vince Vaughn, starved for decent lines) and the movie’s true hero, Ken Miller (an excellent Paul Walter Hauser), an officious loss-prevention officer for a supermarket chain. Ken’s longing for respect makes him a ridiculous, even pathetic figure; but he has a dogged, shabby sense of honor that the film views as a joke and repeatedly undermines.Making no secret of where its sympathies lie, “Queenpins” scampers toward its ludicrous conclusion with less concern for logic than for ensuring that everyone gets what he or she wants. With the possible exception of the audience.QueenpinsRated R for iffy language and icky behavior. Running time: 1 hour 50 minutes. In theaters and on Paramount+. More

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      ‘Dating & New York’ Review: Texts and the City

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      A winning cast helps sell a too-familiar premise about commitment-phobic millennials.“Dating & New York” is consciously framed as a modern fairy tale: It opens with a set of watercolor paintings that portray the city in clean, soft textures and a voice-over informing us that “once upon a time” there, two millennials were cursed with the “paradox of choice.” Wendy (Francesca Reale) and Milo (Jaboukie Young-White) connect through a dating app, meet once and then ghost each other. When they finally rendezvous again, Wendy has drawn up a written contract for a “best friends with benefits” arrangement. The two embark on a relationship they refuse to acknowledge as such.A winning cast helps sell that familiar premise — not just Reale and Young-White, who have definite chemistry and an easy-flowing banter, but also the brassy, scene-stealing Catherine Cohen, as Jessie, a friend of Wendy’s and the new girlfriend of Milo’s friend Hank (Brian Muller). This fantasized New York is, as the characters acknowledge, a small world.Stylistically, “Dating & New York,” a first feature from the writer-director Jonah Feingold, insists on selling its charm. The peppy, fast-paced cutting and constant references to Instagram and podcasts — the movie wouldn’t want you to forget it’s about millennials (or clichés about millennials) — nudge viewers to laugh, as if Feingold were employing the directorial equivalent of push alerts. And for all the tech, the New York of “Dating & New York” feels like it’s been formed from hazy impressions of a less overloaded, less distractible era. The film does score, though, with a one-liner about a man who would lie about his age to land on a “30 under 30” list.Dating & New YorkRated PG-13. Dating and New York. Running time: 1 hour 31 minutes. In theaters and available to rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More

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      Venice Film Festival: Tim Blake Nelson Gets the Lead. Someone Send Him a Tux.

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      The veteran character may have been featured in Coen brothers movies, but for a small western, he’s the one who is working hard to get it seen.VENICE — The first time Tim Blake Nelson went to the Venice Film Festival was three years ago, as one of the featured players in the western anthology “The Ballad of Buster Scruggs,” directed by Joel and Ethan Coen. As Nelson soon learned, trailing those filmmakers around Venice can open an endless number of doors.“Traveling to a film festival with the Coens is a completely different experience than traveling with any other movie,” said Nelson, whose breakout role came in “O Brother, Where Art Thou,” also directed by the Coen brothers. “It’s like being associated with Picasso or Matisse.”This year, Nelson is at Venice to support “Old Henry,” a western he’s starring in. It’s a much smaller movie than “Buster Scruggs” — Nelson has even described “Old Henry” as a “micro western” — and it comes from Potsy Ponciroli, a young filmmaker who’s still earning his spurs. That means Nelson is shouldering a lot more responsibility than he did during his first trip to the festival.“We’re on a completely different stratum,” Nelson said. “I think this might be one of the lowest-budget movies ever to premiere in Venice! This is a very small movie, and it’s kind of extraordinary that we’re here next to ‘Dune.’”But modesty works in the movie’s favor: “Old Henry” is a solid-as-a-rock western that, as it goes on, gently suggests it’s about more than you’d anticipated. In a rare leading role, Nelson plays Henry, a widowed farmer living on a small patch of land in the Oklahoma territory. It’s 1906, and Henry’s teenage son, Wyatt (Gavin Lewis), is anxious to seek adventure, leave the farm, and wrest himself from the grip of his overprotective father.But adventure finds them instead when Henry and Wyatt happen upon a nearly dead cowboy and his pouch full of cash. When Henry brings both back to his farm, it isn’t long before a sinister gunslinger (Stephen Dorff) comes sniffing around for that bounty. And in the standoff that follows, maybe father and son will come to learn more about each other than either was expecting.“As an actor who’s 57 years old and has been doing this a long time, there’s something incredibly exciting about being associated with a younger filmmaker who’s created something very special,” Nelson said Monday night at da Ivo, a Venice restaurant that had been recommended to him by his “O Brother” co-star George Clooney, who held his bachelor party there.For a supporting player like Nelson, who recently appeared in HBO’s “Watchmen,” leading roles like the one in “Old Henry” are few and far between. Still, Nelson is humble about the promotion. If anything, it just means he’s taking on more responsibility to get the film seen.“It’s tricky because when you’re a character actor who’s been in a lot of movies, people tend to inflate your value,” said Nelson. “They think, ‘Oh, if he’s in my movie, then I can get financing or critical attention.’ They’re actually wrong, because there are a lot of character actors out there. I always say that I’m not some sort of magic bullet.”And though the films at Venice are dominated by stars like Timothée Chalamet, Zendaya and Penélope Cruz, who can earn headlines simply for what they wear on the red carpet, Nelson harbors no such illusions.“I’m wearing an outfit picked out by my wife,” Nelson told me, tugging at the lapel of his black jacket. “Because I forgot to pack two blazers, we actually bought this jacket today, two blocks away from here.”So, yes, Tim Blake Nelson is headlining a movie at one of the most glamorous film festivals on earth, but no, he does not return to his room at the Hotel Excelsior to find a free Tom Ford tuxedo sent over by a stylist.“I wish!” he said, laughing. “That’d be great. But you know, I don’t say this disingenuously: Nobody’s ever sent me any suits. And there were no offers for this. None.”Nelson grinned. “I’m not complaining,” he said. “It’s just, we’re a bit of a minnow.” More

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      Where to Stream Jean-Paul Belmondo’s Best Performances

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      Whether he was doing his own stunts in action films or being nonchalant in literary adaptations, the actor was magnetic.One word often comes up when reading about Jean-Paul Belmondo: cool. The French actor, who died on Monday at 88, never appeared to try hard, bringing a nonchalant effortlessness to all his roles. Belmondo did not look like a typical leading man — The New York Times described him as “hypnotically ugly” in 1961 — but he had charm and the unbothered casualness that the French call “désinvolture.”This son of artists had a taste for boxing, and swiftly eschewed being pigeonholed — he appeared in a high-minded literary adaptation one minute, performed his own stunts in a feisty caper the next. Through the 1960s and early ’70s, he alternated between art-house fare and quality commercial productions, then focused squarely on the latter, which might explain his often adversarial relationship with the French cinema establishment. When his performance in Claude Lelouch’s “Itinerary of a Spoiled Child” earned him a nomination for best actor at the 1989 César Awards, for example, he encouraged voters not to pick him; he won anyway and did not attend the ceremony.Luckily, a representative sample of Belmondo’s films is available for streaming. Here are 10 of them, in chronological order.‘Breathless’Stream it on the Criterion Channel and HBO Max.This film, released in the United States in 1961, launched the careers of Belmondo and the director Jean-Luc Godard, and remains a formally thrilling pop-noir touchstone of the French new wave. Belmondo had a lower profile than his co-star, Jean Seberg, but his punk charisma burns the screen. A cigarette permanently dangling from his lips, he ambles along with the insolence of youth, his insouciant yet focused energy matching the jazzy, finger-snapping soundtrack. Many actors would have faded next to the vibrant modernity of Godard’s filmmaking; Belmondo fed on it.‘Le Doulos’Stream it on Plex TV; rent or buy it on iTunes.For many years, Belmondo’s rival as France’s sexy male lead was Alain Delon, whose tightly wound composure was a perfect fit for the director Jean-Pierre Melville’s cerebral, stylish movies. Yet Belmondo’s collaboration with the master filmmaker was just as fruitful. “Le Doulos,” from 1962, is Melville’s first great noir, and Belmondo is all contained brutality in it. A slightly raised eyebrow, the quirk of a mouth almost make you want to sympathize with his Silien, but menace is always there, the sense that this guy could shoot you at any time.‘That Man From Rio’Rent or buy on most major platforms.One of Belmondo’s frequent collaborators was Philippe de Broca, the director of fleet-footed, witty films. In this 1964 hit, his character travels all the way to Brazil to save his abducted girlfriend. The combination of comedy, adventure and romance is a perfect fit for Belmondo, and the wonderfully piquant Françoise Dorléac was among his best screen partners — their spiky screen chemistry is wonderful to behold.You can make it a double bill with de Broca’s zany Hong Kong-set “Up to His Ears,” from 1965, in which the actor plays a suicidal millionaire who decides life is worth living when mysterious henchmen try to kill him. Ursula Andress, with whom Belmondo then began a relationship, plays a fetching ethnologist earning spare change as an exotic dancer. Ah, the 1960s. …‘Pierrot le Fou’Rent or buy on most major platforms.In 1965, Godard gave Belmondo another superb role as an out-of-sorts man who escapes from his hohum life with Anna Karina (who wouldn’t?). This is one of Belmondo’s finest performances because he allows a poignant vulnerability to show, instead of hiding it behind a cocksure confidence. In a lovely scene, he and Karina speak-sing while dance-walking, and the craggy-faced young man with the squashed nose is pure poetry.‘Mississippi Mermaid’Stream it on Amazon.As the trailer to this 1969 film put it, “suddenly you realize two things: You’re in love, and you’re in danger.” Belmondo was cast against type as a man obsessed with — and manipulated by — a scheming Catherine Deneuve in François Truffaut’s adaptation of a William Irish novel. Alas the movie tanked, maybe because audiences were not ready to see Belmondo so blinded by passion that he came across as passive. “Mississippi Mermaid” was more subtle than that, though, and is worth rediscovering.‘Borsalino’Rent or buy it on Amazon and iTunes.Belmondo and Delon: the yin and yang of French cinema, muscular warmth versus icy distance. The pair had already appeared in “Is Paris Burning?” in 1966, but they were just two in a whole bunch of international marquee names. Four years later, they headlined a 1930s-set story as two Marseille gangsters who forge an alliance till death do them part. (Real life was more complicated, as Belmondo took Delon to court over who would be listed first in the credits.) Helmed by the genre craftsman Jacques Deray (“La Piscine”), “Borsalino” endures thanks to its ridiculously charismatic leads, with Belmondo as the very definition of raffish.‘The Scoundrel’Rent or buy it on Amazon and YouTube.Confusingly, this 1971 de Broca movie has different English titles, including the clunky literal translation “The Married Couple of the Year Two” and the fairly descriptive “The Scoundrel” and “Swashbuckler” — guess who that describes? No matter: This is a sterling example of a certain kind of period, well-made entertainment that has long been popular in France. The film is a high-spirited screwball comedy of marriage set during the French Revolution, in which Belmondo and Marlène Jobert (Eva Green’s mother) prove their love by constantly bickering. Both are marvelously at ease in that register, and Belmondo gets to indulge in stunt work, too.‘Stavisky …’Stream it on Kanopy.On the surface, Belmondo plays to type — albeit a rich criminal rather than a lowlife — in this 1974 film based on the true story of Alexandre Stavisky, a shady financier and swindler who became the linchpin of a huge scandal that rocked France in 1934. But the role and the performance are not cookie-cutter period biopic, because this is from the cerebral director Alain Resnais. “Stavisky …” emphasized mood over action (a fantastic score by Stephen Sondheim helped) and toyed with chronology, but its idiosyncratic approach to genre did not sell. Belmondo proceeded to turn his back on artier fare and unabashedly dedicated himself to selling the most tickets possible.‘The Professional’Rent or buy on most major platforms.In the late 1970s and the mid ’80s, Belmondo ruled the French box office with a string of action movies. Some of them had a comic bent, others were tough-guy noirs. This Georges Lautner smash from 1981 squarely belongs to the second type, with our star playing a leather-jacketed secret agent embroiled in a plot involving French interests in Africa. The best part of the movie is the face-off between Belmondo and his foil, terrifically portrayed by Robert Hossein (the two often worked together at the theater, with Hossein directing). Bonus: One of Ennio Morricone’s best scores of the 1980s.‘Half a Chance’Rent or buy on most major platforms.Belmondo and Delon joined forces again for this 1998 comic thriller in which Vanessa Paradis tries to find out which of them is her father. (Sound familiar?) The director Patrice Leconte (“Monsieur Hire”) enjoys playing with his aging male stars’ images: Belmondo gets to climb from a moving convertible to a helicopter, for example. His face an epic landscape of creases and furrows, he is simply irresistible as an extroverted, rambunctious fast-talker, and makes a meal out of the most innocuous scraps of dialogue. More