OVERLAY REPORT

In the 1963 film *Any Number Can Win* (originally titled *Mélodie en sous-sol*), the main character is **Charles** (often referred to as "Mister Charles"), portrayed by the legendary French actor **Jean Gabin**. Charles is a veteran "career" gangster who has just been released from a five-year prison stint. Unlike his wife, who wants him to retire to a quiet life of bourgeois respectability in the suburbs, Charles is disgusted by the changing world and immediately begins planning one final, massive heist: robbing the vault of the Palm Beach Casino in Cannes. He recruits a younger, cocky former cellmate, **Francis Verlot** (played by **Alain Delon**), to be his "man on the inside." The film is famous for its sharp, cynical dialogue written by **Michel Audiard**, the most celebrated screenwriter in French cinema history. Below are Charles’ most memorable lines, providing insight into his weary but professional criminal worldview: ### 1. On Rejection of Normalcy Upon returning home to find his neighborhood transformed by modern housing projects, Charles reflects on his lack of interest in "going legit." * **The Line:** *"Moi l'avenir, je le vois du côté de Canberra, bourré de pognon et inconnu, c'est-à-dire honorable."* * **Translation:** "As for the future, I see it over by Canberra, stuffed with cash and unknown—which is to say, honorable." * **Context:** This highlights Charles' belief that respectability is merely a byproduct of wealth and anonymity, rather than honest work. ### 2. On the Reality of Prison Charles delivers a gritty observation about the moment of release that resonates with the film’s noir atmosphere. * **The Line:** *"La liberté sonne à sept heures dans toutes les prisons de France."* * **Translation:** "Freedom rings at seven o'clock in every prison in France." * **Context:** This is said early in the film as he is being processed out of jail, underscoring the mechanical, unglamorous nature of a life in and out of the system. ### 3. On Maintaining Appearances Charles is a master of the "old school" style, believing that a professional criminal must always act the part of a gentleman. * **The Line:** *"L'essentiel, c'est de râler. Ça fait bon genre."* * **Translation:** "The main thing is to grumble. It makes you look like you have class." * **Context:** Charles advises his young protégé, Francis, on how to act like a wealthy socialite at the casino. He suggests that being dissatisfied and complaining is the surest sign of a high-status individual. ### 4. On the Folly of Youth Throughout the film, Charles treats the impulsive Francis with a mix of mentorship and disdain. * **The Line:** *"T'extasie pas sur la mer, elle a toujours été là."* * **Translation:** "Don't get all excited about the sea; it's always been there." * **Context:** When they arrive at the glamorous French Riviera, Francis is distracted by the beauty of the Mediterranean. Charles shuts him down instantly, reminding him to stay focused on the job. ### 5. On Failure and "Vocations" When the meticulously planned heist begins to unravel due to Francis's mistakes, Charles delivers a stinging rebuke. * **The Line:** *"Quand tu m'as dit que tu étais un tocard, j't'ai pas cru, mais j'crois bien qu'c'est toi qui as raison. Faut jamais contrarier les vocations..."* * **Translation:** "When you told me you were a loser, I didn't believe you, but I think you're right. One must never discourage a man's calling..." * **Context:** Charles uses the term "vocation" sarcastically to suggest that Francis’s true talent isn’t high-stakes robbery, but being a small-time failure. ### Summary of Character Detail Charles represents the **"Old Guard"** of French cinema and crime. He is stoic, meticulous, and deeply cynical about the modern world's lack of "quality." His dialogue is peppered with *argot* (French slang) that makes him sound both dangerous and profoundly intelligent. The "melodie" of the title refers to the intricate, silent clockwork of the heist itself, which Charles conducts like a symphony, only to have it ruined by the "noise" of human error.