Currently deciding on what title with my favourite actress Michele Mercier should be watched for the ICM French Viewing Challenge,I took a look at the movies with Mercier's regular co-star Robert Hossein I had waiting to view. Finding dbdumonteil's review to be very inviting,I choose to find out how shameful the road is.
View on the film:
Credited as an "Assistant editor", Michel Deville's regular co-writer/editor Nina Companeez makes her distinctive mark on editor Laurence Mery-Clark's cutting style, in outstanding, jarring smash-cuts giving the fight scenes a blunt edge,and Companeez's smash-cuts for unexpected confrontations Rossi faces giving them a from out of nowhere sense of surprise. Loitering around like a street rat, Robert Hossein gives a excellent performance as the dead-eyed Noir loner Rossi, whose stubbornness to brush off the threats from gangsters has Hossein gives Rossi a rough and tumble manner, shoving aside any thug blocking him from his dame love. Slithering round the drugged dames, (which includes a very good Magali Noël as Coraline Merlin) Philippe Clay is an utter creep as gangster Tom. Carrying a wry smirk, Clay has Tom hand out punishment to "trouble" with an abrasive strike that puts anyone who speaks up back in line.
Drugging all the women to join the white slave trade, director Edouard Molinaro & cinematographer Robert Juillard give the hazy state a quality touch of sleaze, exposing the bare flesh of the sexy ladies, and giving the fight scenes peculiar tools (the only Noir where plant pots are used as weapons?) Jazzing up the dark side streets with a breezy Jazz score from Art Blakey, Molinaro ignites an excellent seedy Film Noir atmosphere, panning the long streets Rossi drags his heels down, and in tightly coiled shots holds Tom lurking in the shadows set to pounce on Rossi. Welding the editing styles of Clark and Companeez with ease, Molinaro superbly matches the elegance of panning shots round the house with frenzied close-ups,whip-fast tracking shots and fast-moving wide-shots stylisation smashing into Rossi's face. Set over one night, Albert Simonin and Gilles Morris-Dumoulin's adaptation of Morris-Dumoulin's own novel tensely place Rossi and Tom as two sides of the same Noir loner coin, via Rossi being drained of nothing else to care for but holding his dream woman again, while Tom has long ago beaten up any remains of remorse or regret for a desire to go up the black market food chain,as they both walk down the road to shame.
View on the film:
Credited as an "Assistant editor", Michel Deville's regular co-writer/editor Nina Companeez makes her distinctive mark on editor Laurence Mery-Clark's cutting style, in outstanding, jarring smash-cuts giving the fight scenes a blunt edge,and Companeez's smash-cuts for unexpected confrontations Rossi faces giving them a from out of nowhere sense of surprise. Loitering around like a street rat, Robert Hossein gives a excellent performance as the dead-eyed Noir loner Rossi, whose stubbornness to brush off the threats from gangsters has Hossein gives Rossi a rough and tumble manner, shoving aside any thug blocking him from his dame love. Slithering round the drugged dames, (which includes a very good Magali Noël as Coraline Merlin) Philippe Clay is an utter creep as gangster Tom. Carrying a wry smirk, Clay has Tom hand out punishment to "trouble" with an abrasive strike that puts anyone who speaks up back in line.
Drugging all the women to join the white slave trade, director Edouard Molinaro & cinematographer Robert Juillard give the hazy state a quality touch of sleaze, exposing the bare flesh of the sexy ladies, and giving the fight scenes peculiar tools (the only Noir where plant pots are used as weapons?) Jazzing up the dark side streets with a breezy Jazz score from Art Blakey, Molinaro ignites an excellent seedy Film Noir atmosphere, panning the long streets Rossi drags his heels down, and in tightly coiled shots holds Tom lurking in the shadows set to pounce on Rossi. Welding the editing styles of Clark and Companeez with ease, Molinaro superbly matches the elegance of panning shots round the house with frenzied close-ups,whip-fast tracking shots and fast-moving wide-shots stylisation smashing into Rossi's face. Set over one night, Albert Simonin and Gilles Morris-Dumoulin's adaptation of Morris-Dumoulin's own novel tensely place Rossi and Tom as two sides of the same Noir loner coin, via Rossi being drained of nothing else to care for but holding his dream woman again, while Tom has long ago beaten up any remains of remorse or regret for a desire to go up the black market food chain,as they both walk down the road to shame.