Claude is a young man with a regular job, no history of trouble with the law and no chance of making any real money. He also has the brains and emotional detachment to make the big bucks as a hit man, and that becomes his new job title. A string of successful hits gets him sent to Los Angeles for his latest job. There he is accompanied by two goons: one who is perpetually nervous and the other who quickly worships the young man as a hero. The cold, ruthless hit man finally becomes unglued when he finds out that his latest target is a woman. She’s a witness, set to testify against his boss, and guarded day and night by the police. It’s her femininity that worries Claude: women are unpredictable, they don’t do what you expect. Claude eventually proves that he is the unpredictable one and his own worst enemy. —IMDb
Irving Lerner (7 March 1909, New York City – 25 December 1976, Los Angeles)
Before becoming a filmmaker, Lerner was a research editor for Columbia University’s Encyclopedia of Social Sciences, getting his start in film by making documentaries for the anthropology department. In the early 1930s, he was a member of the Workers Film and Photo League, and later, Frontier Films. He made films for the Rockefeller Foundation and other academic institutions, becoming a film editor and second-unit director involved with the emerging American documentary movement of the late 1930s. Lerner produced two documentaries for the Office of War Information during WW II and after the war became the head of New York University’s Educational Film Institute. In 1948, Lerner and Joseph Strick shared directorial chores on a short documentary, Muscle Beach. Lerner then turned to low-budget, quickly filmed features. When not hastily making his own thrillers, Lerner worked as a technical advisor, a second… read more
This does in fact seem like something that Melville would be influenced by. Elliptical, enigmatic, supreme cool! And lovely use of clashing, droning guitar melodies.
The Hitman As Existential Hero: A Film Noir Invention?: Why is it that even the most unpretentious, not to say dumb, film noir is so