After watching The Film Noir The She Wolves,I began looking for another one of the four films starring Jeanne Moreau from 1957. Searching online for the other 3,I found out that I had (unknowingly) gotten hold of one of the Moreau titles! This led to me going onto the next one, until the last one.
View on the film:
Staying away from the crowds, co-writer/(with Michel Audiard and André Duquesne) director Pierre Billon adaptation of Duquesne's novel goes behind the scenes of the Big Top, which whilst lacking the freaky vibes of fellow circus Noir Nightmare Alley (1947) does have a fitting Film Noir seediness, as ex-prisoner Bastia finds the same double dealing and slippery use of money he experienced in his gang and prison. Attacking it with the same fury Bastia gets from his old buddies, the writers take spiteful jabs at the main threat to cinema of the era: TV. In less than subtle swings, the circus crew openly lament how the circus being screened on TV has led to it losing all the spotlights,and becoming low-rent.
Rolling up out of jail, Raymond Pellegrin gives a grubby performance as Bastia-who shoves anyone to the ground who does not follow his old rogue habits, that even rub abrasively when Pellegrin has Bastia try to show a little tenderness towards Gina. Catching the eyes of the crowd and her fellow performers, Jeanne Moreau gives a sweet turn as Gina. Appearing playful when first meeting Bastia, Moreau gets Gina's hands to grasp in desperation to free Bastia from his old friends. Clawing Bastia with the debt of betrayal he left Paul Meurisse's towering Ricioni holding,Billon & cinematographer Pierre Petit set the Film Noir fireworks off with winding shots round the side streets Bastia and Ricioni try to hide from sight, lit by a final blaze of smoke and fire,until the last one fades.
View on the film:
Staying away from the crowds, co-writer/(with Michel Audiard and André Duquesne) director Pierre Billon adaptation of Duquesne's novel goes behind the scenes of the Big Top, which whilst lacking the freaky vibes of fellow circus Noir Nightmare Alley (1947) does have a fitting Film Noir seediness, as ex-prisoner Bastia finds the same double dealing and slippery use of money he experienced in his gang and prison. Attacking it with the same fury Bastia gets from his old buddies, the writers take spiteful jabs at the main threat to cinema of the era: TV. In less than subtle swings, the circus crew openly lament how the circus being screened on TV has led to it losing all the spotlights,and becoming low-rent.
Rolling up out of jail, Raymond Pellegrin gives a grubby performance as Bastia-who shoves anyone to the ground who does not follow his old rogue habits, that even rub abrasively when Pellegrin has Bastia try to show a little tenderness towards Gina. Catching the eyes of the crowd and her fellow performers, Jeanne Moreau gives a sweet turn as Gina. Appearing playful when first meeting Bastia, Moreau gets Gina's hands to grasp in desperation to free Bastia from his old friends. Clawing Bastia with the debt of betrayal he left Paul Meurisse's towering Ricioni holding,Billon & cinematographer Pierre Petit set the Film Noir fireworks off with winding shots round the side streets Bastia and Ricioni try to hide from sight, lit by a final blaze of smoke and fire,until the last one fades.