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Americans in Paris

  • Deborah Walker
Part of the Crime Files Series book series (CF)

Abstract

Section One put forward the argument that Duhamel’s Série Noire translations of Peter Cheyney appropriated the author for French noir fiction. This chapter discusses the relatively more straightforward contribution of two American film-makers to the canon of French film noir: Jules Dassin (1911–2008) and Bob Swaim (1943-).

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Notes

  1. 10.
    Dassin was a fervent admirer of neo-realism, particularly of aaa Rossellini’s Rome Open City (1945).Google Scholar
  2. 13.
    Reggiani also had a successful acting career, playing leading roles in two French noir classics: as Georges Manda in Becker’s Casque d’or [Golden Marie] (1952) and as Maurice Faugel in aaa Melville’s Le doulos [The Fingerman] (1962).Google Scholar
  3. 14.
    Que diable, si vous avez tant besoin de vous libérer de vos instincts sournois, rendez-vous compte que le roman, la poésie, la fiction, la simple fantaisie sont là, prêts à vous accueillir, et que, dans ce domaine, tout est permis’, Boris Vian, preface to Manuel de Saint-Germain-des-Prés (Paris: Pauvert, 1997), p. 32 (text first published by Éditions du Chêne, 1974).Google Scholar
  4. 19.
    This opening close-up is a clear reminder that the prominence of jazz and blues in French noir was due in large part to the physical presence of so many Black musicians in post-war Paris. Historians estimate their numbers to have been around five hundred. Their collective story was later told through Bertrand Tavernier’s Autour de minuit [Round Midnight] (1986), starring jazz saxophonist Dexter Gordon.Google Scholar
  5. 25.
    Claude Zidi’s Les Ripoux [My New Partner]) (1984), which won best picture in 1985 is more a black comedy.Google Scholar

Copyright information

© Alistair Rolls and Deborah Walker 2009

Authors and Affiliations

  • Deborah Walker

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