Into the Parisian underworld, with Americophile Jean-Pierre Melville as our guide: the ambience (the solitary streetlamp, the smoky bar, the anonymous staircase) is impeccable, which is to say it has little connection to the contemporary real world; the mood is that of a cool-jazz blues number, doleful but aloof; and Jean-Paul Belmondo, showing even better here than in Breathless why he was dubbed the French Bogart, dons the gangster's uniform with great panache. Serge Reggiani, Michel Piccoli. (1962) — Duncan Shepherd
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