A stylish little crime drama from Louis Malle. The only thing that really bugged me about it was the criminal competence of our four main characters. Being an incompetent criminal is something that I can buy into from at least three of them; but being an incompetent person is a completely different story, and there are some completely idiotic character decisions that happened seemingly to just move the plot forward.
Louis Malle, a valedictorian in French cinema in the late 50s who could never fully match the magical quality of his debut feature. One could have a field day picking at the film's lack of continuity, its inconsequential temporal shifts, its fragmented causality. Then you realise that it is indicative of an emerging New Wave school of thought inherent in the work of Truffaut, Godard, Becker and Melville. Marvellous.
I've heard the claim that jazz music wasn't synonymous with noir films until after this film came out, or films like M Squad with music by Count Basie in the following year. Is it true that the jazz failed to enter noir until the late 1950's? Anyone know? Either way - despite its flaws, this is a wonderful old flick by Louis Malle.
Slick settings, the late night walks and a truly wonderful soundtrack cover the screen in style and a drip of atmosphere but! BUT! But what to make of the film in it's entirety but raves of a new kind of cool and perhaps a confident re-imagining of the mystery-thriller.
3,5 There is nothing unusual or remarkable on these film, until the end. Of course, before the revelation scene you have some good moments too, but these idea is extraordinary. Because the authentic medium in this film is photography and not cinema. Malle creat such an intricate plot and at end, photography reveals the true about the two couples. It's like the same game that Antonioni did in "Blow Up".