The two Melvilles are essential viewing for
lovers of film noir, or of French cinema in general.
Kino Lorber's new presentations of these films bring them boldly into the 21st century with great transfers and a combination of new and archival bonus material that
any lover of film noir will definitely appreciate.
Not exact matches
This is the kind
of resourceful, no - budget
noir craft that still prompts
film lovers to bow down to RKO, despite all the crap the studio gave Orson Welles.
A high - style, high - octane
film noir couple — cool Robert Mitchum and hot Linda Darnell — are
lovers on the run to Mexico, with the scariest
of hit men, Jack Palance, on their trail.
This is the kind
of resourceful, no - budget
noir craft that still prompts
film lovers to bow down to RKO, despite all the crap the studio gave Orson Welles, etc. — Joshua Rothkopf
Sun Don't Shine's elemental plot — it doesn't get much more basic than two
lovers, a car, a corpse, and a fuzzy plan to get out
of one hell
of a jam — unfolds in such enigmatic, elliptical bursts that it can be easy to forget the
film is a
noir, not just another artily shot independent
film about overly intense people yelling at each other.
The uncomplicated yet ingeniously knotted plot takes a classic
noir murder — a man killing his
lover's husband so they can be together — strips away the genre clichés and infuses the
film with the introspective moodiness, dynamic camerawork, unadorned location shots, and stylized but emotionally naked performances that would become a hallmark
of the New Wave pictures that followed by Francois Truffaut, Jean - Luc Godard, Claude Chabrol, Jacques Rivette, Eric Rohmer and Malle himself.
I'm also a
lover of «
film noir».