Capturing the ethical and tonal air of noir and crafting a love letter to New York City takes precedence over filmic construction, casting (some of the acting is atrocious), and story structure. But the fast, loose, low-budget approach gives it a New Wave vibe that still feels fresh.
Hayer's cinematography, particularly the exterior shots of Manhattan, turns the film into a living work, an authentic document of an actual place in time. These exterior shots are done in wides, often held for too long, suggesting that Melville's gaze is reluctant to get back to artifice.
The music drops can be heavy handed and redundant, but there's some great jazz here, and the last reel uses the music incredibly effectively, helping tie together some sequences that are absolute cinematic gold.
As mentioned, the exceptionally beautiful women we encounter were not hired for their acting chops. The mystery doesn't amount to much, and, in our current climate, the idea of newspaper men burying a story about the infidelity of a public servant for "ethical" and patriotic reasons doesn't sit all that well, but everything else is wicked fun.
Hayer's cinematography, particularly the exterior shots of Manhattan, turns the film into a living work, an authentic document of an actual place in time. These exterior shots are done in wides, often held for too long, suggesting that Melville's gaze is reluctant to get back to artifice.
The music drops can be heavy handed and redundant, but there's some great jazz here, and the last reel uses the music incredibly effectively, helping tie together some sequences that are absolute cinematic gold.
As mentioned, the exceptionally beautiful women we encounter were not hired for their acting chops. The mystery doesn't amount to much, and, in our current climate, the idea of newspaper men burying a story about the infidelity of a public servant for "ethical" and patriotic reasons doesn't sit all that well, but everything else is wicked fun.