Eddie's noir list is (IMO) less squishy than what he sent to S&S, but there's no reason to spend much time quibbling about it. James Harvey's essay on Au hazard Balthazar in his WATCHING THEM BE makes a convincing case for the greatness of that film, which comes from a totally different sense of human darkness than what we somewhat casually associate with noir--a sense which seems to have welled up in Bresson during the latter stages of his career.
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