Film Review
Jean-Pierre Melville was the French director who was most successful in transposing the
American film noir genre to European cinema, and
Deux hommes dans Manhattan is
the film which shows its American roots most clearly. The film is set in New York,
the dialogue is half English, half French, and most of the cast (excluding the lead characters)
are American actors.
But this is more than a straightforward homage to the genre which obsessed Melville and
had the greatest impact on his film-making. Melville somehow manages to capture
the essence of American film noir and reassemble it almost as a work of art.
The film is so stylish and alluring, with its eternally melancholic jazz soundtrack and
captivating nocturnal photography, that its weaknesses (threadbare plot, some weak characterisation)
are scarcely noticeable. Melville himself gives a charismatic performance as the
lead character Moreau, whilst Pierre Grasset plays Delmas, a typical Melvillesque character,
a hardened cynic of ambiguous morality who ultimately emerges as the most sympathetic
character.
The film is sadly overlooked, and Melville himself he was disappointed with it, but it
represents an important part in the director's oeuvre and ought to be regarded as
a great film. It was on this foundation that Melville built his most acclaimed
films, classic French gangster films that include
Le Doulos (1962),
Le Deuxième souffle (1966)
and
Le Samouraï (1967).
© James Travers 2000
The above content is owned by filmsdefrance.com and must not be copied.
Next Jean-Pierre Melville film:
Léon Morin, prêtre (1961)
Film Synopsis
When Fèvre-Berthier, an important French diplomat, goes missing in
New York, a French journalist, Moreau, is sent to investigate what became
of him. Moreau fails to learn anything of substance from the missing
man's secretary and he ends up recruiting Delmas, an alcoholic press photographer
who knows the city well enough to be his guide. Their ensuing investigation
takes the two men all over Manhattan. None of the people who came into
contact with Fèvre-Berthier has any idea what may have become of him.
Moreau's first tangible lead comes when an actress attempts to commit suicide
shortly after he interviews her. Visiting the recovering woman in hospital
Delmas manages to extract the truth - the diplomat died at her home from
a fatal heart attack. Sure enough, the two men find the corpse in the
girl's apartment and Delmas cannot resist taking a photograph of the dead
man. Moreau is disgusted by his partner's behaviour and insists that
he hands over the film of his camera. Delmas is careful to give him
the wrong roll of film. When the photographer goes off on his own,
Moreau enlists the help of the diplomat's daughter in finding him.
They find him in a bar, completely drunk. After a violent confrontation
with Moreau Delmas throws away the film that could have made him a rich man.
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.