Louise Malle’s debut as director is an unconventional and ultra-stylish crime thriller which borrows from film noir but also trials methods later associated with the French New Wave. While the suspense is unreliable, it looks amazing and made an international star of the photogenic Jeanne Moreau.
Maurice Ronet plays an ex-soldier who murders the rich husband of his lover (Moreau) but gets trapped in a lift on returning for incriminating evidence. Which leaves her to wander around Paris trying to find him. Meanwhile a couple of teenagers (Georges Poujouly and Yori Bertin) steal Ronet’s car and kill some tourists.
The weakness is the amount of time spent watching Moreau search for her accomplice. Though that is hardly a chore! Filmed with handheld cameras in natural light on the streets of Paris accompanied by Miles Davis’ improvised jazz score; what could be more Nouvelle Vague?
There’s a cute ending, but as a thriller this is uneven. Yet, as a vehicle for a fresh cinematic approach, it’s stunning. Malle is a quality film maker who always engages the eye. There’s some politics and reflections on Americanisation, but it’s really all about the bebop soundtrack, and the novelty of the look.
Excellent plot with twists ,well photgographed in B&W with superb Miles Davis music score.Could not understand why Jeanne Moreau
would get more years than the actual murderer.