After weeks of it slowing down, I decided to clear my online history, in order to speed my laptop up. Checking afterwards,I found that I had been logged out of just one site: IMDb.
With my E-Mail company ( cwctv) going bust years ago, I've been unable to log in to change my E-Mail for IMDb. Introducing a new 2-step verification, IMDb made it impossible for me to sign in.
Spending the day exchanging E-Mails with them, I ended getting told the after starting on 27th May 2005 with a review of The Doors (1991), and 2,956 reviews later, that the doors were permanently being closed on my morrison-dylan-fan IMDb account.
Feeling sad and frustrated ( and with this, my back-up account via Facebook, also getting locked by this site in a few days),I decided to cheer myself up,by picking up a disc I've been planning to see for years, and finally watch it, between 11PM and midnight.
View on the film:
Shadowing Carrel running towards his unofficial double, co-writer (with Marcel Rivet and Henri Jeanson) / director Henri Decoin & Le Doulos (1962-also reviewed) cinematographer Nicolas Hayer ignite a playful, self-aware Pop-Art Film Noir atmosphere, exploding from ultra-stylized dissolves and jagged whip-pans over posters of Edward G. Robinson outside cinemas screening John Ford's The Whole Town's Talking (1935), which melts to drive-by via silhouette car, and slices through high contrast lighting, to land on the stark stone cold face of Carrel.
Made the same year that she starred in Such a Pretty Little Beach (also reviewed), Madeleine Robinson gives an exquisite performance as Lusigny, a Femme Fatale flame that burns at Carrel's fears of being found out. Finding that he looks just like a murdered man, Louis Jouvet gives a terrific turn as Noir loner inspector Carrel, whose morals are ruthlessly stamped on, as Carrel becomes drawn to a new identity.
Turning the clock hands on Jouvet in their adaptation of Claude Luxel's novel, the screenplay by Rivet, Jeanson and Decoin load an amusing comedic take on Noir staples,from a fashion show where every dress a dame wears is named after a Thriller movies, to Carrel slithering away from his old, respectable imagine, to a new one that fits him like a velvet glove, which he wears between eleven and midnight.
With my E-Mail company ( cwctv) going bust years ago, I've been unable to log in to change my E-Mail for IMDb. Introducing a new 2-step verification, IMDb made it impossible for me to sign in.
Spending the day exchanging E-Mails with them, I ended getting told the after starting on 27th May 2005 with a review of The Doors (1991), and 2,956 reviews later, that the doors were permanently being closed on my morrison-dylan-fan IMDb account.
Feeling sad and frustrated ( and with this, my back-up account via Facebook, also getting locked by this site in a few days),I decided to cheer myself up,by picking up a disc I've been planning to see for years, and finally watch it, between 11PM and midnight.
View on the film:
Shadowing Carrel running towards his unofficial double, co-writer (with Marcel Rivet and Henri Jeanson) / director Henri Decoin & Le Doulos (1962-also reviewed) cinematographer Nicolas Hayer ignite a playful, self-aware Pop-Art Film Noir atmosphere, exploding from ultra-stylized dissolves and jagged whip-pans over posters of Edward G. Robinson outside cinemas screening John Ford's The Whole Town's Talking (1935), which melts to drive-by via silhouette car, and slices through high contrast lighting, to land on the stark stone cold face of Carrel.
Made the same year that she starred in Such a Pretty Little Beach (also reviewed), Madeleine Robinson gives an exquisite performance as Lusigny, a Femme Fatale flame that burns at Carrel's fears of being found out. Finding that he looks just like a murdered man, Louis Jouvet gives a terrific turn as Noir loner inspector Carrel, whose morals are ruthlessly stamped on, as Carrel becomes drawn to a new identity.
Turning the clock hands on Jouvet in their adaptation of Claude Luxel's novel, the screenplay by Rivet, Jeanson and Decoin load an amusing comedic take on Noir staples,from a fashion show where every dress a dame wears is named after a Thriller movies, to Carrel slithering away from his old, respectable imagine, to a new one that fits him like a velvet glove, which he wears between eleven and midnight.