Archive for September 28, 2020

Noir is Hell

Posted in FILM with tags , , , , , , , on September 28, 2020 by dcairns
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Two French crime stories. I first wrote about THE SLEEPING CAR MURDERS, Costa-Gavras’ directorial debut, when it was only available to me as a pan-and-scan off-air recording from Scottish Television, dubbed into English. Now seeing it in widescreen and French and decent definition, its youthful vivacity combines nicely with its dark sensibility. But it’s far from nihilistic — Costa-Gavras clearly loves his naïve young couple, and his sniffle-afflicted detective (Yves Montand gets to be a handkerchief actor). It goes like a train. The novel by Sebastien Japrisot is also excellent but the solution to the mystery involves a fairly wild coincidence of murderers, if I recall it aright. CG changes the ending and it makes more sense. Probably his least political film for years but it does slip in some social comment, however maybe it’s highest achievement outside of the kinetic thriller dynamic is the miniature character portraits it offers en route.

RIFIFI is of course too famous to require comment on its spectacular cinematic merits, particularly the 45-minute (can this be right? It isn’t: see comments) silent heist. What makes it so tense and exhilarating IS the quietude. Director Jules Dassin’s European comeback after the blacklist, it shows his willingness to let the bad guy heroes BE bad guys, until the third act, when he gives anti-hero Jean Servais something noble to do, and includes a speech about how the real tough guys are those born to poverty who nevertheless go straight. He couldn’t help himself — Dassin needed some nobility to get behind.

Servais, visibly dying, is a magnificently raddled central figure (you can see him as a fresh-faced juvie lead in LES MISERABLES 20-something years earlier), shrivelled in his baggy suit. During the feverish final journey by convertible through Paris, he’s accompanied by a little boy with a toy cowboy pistol, draped in an adult coat to keep warm, who comes to seem like a crazy parody of him. Dassin, working with editor Roger Dwyre for the first time, creates a sequence of pure rhythm — from his very first short, Dassin has a heightened sense of visual and aural rhythm. If you start to notice it, even his supposed “worst” films become impressive.