Der Mörder kam um Mitternacht

Faking suicide, a playboy industrialist (Jacques Berthier)calculatingly murders his mistress, and the victim's husband (Lino Ventura) equally pitiless revenge excitingly engenders an increasingly desperate sortie through the crepuscular streets of Paris. Director Édouard Molinaro's electric, stunning invocation of moody gallic noir makes for extraordinarily compelling cinema, maestro Henri Decae's ominously shadow-slaked photography draws you deeply into Molinaro's mesmerisingly monochromatic milieu of midnight misanthropy.

Razor-edged cat-and-mouse crime thriller 'Witness in The City' is honed to deadly efficacy, the bulk of the film's undeniable allure due solely to magnetic film icon Lino Ventura's steely charisma. Granted, I am massively biased, since Lino Ventura is one my favourite actors, but, in my opinion, no one stalked the dingy backstreets of not-so-gay Paris with the inimitable rigour of Mr. Ventura! The thrilling performances, exquisite, frequently dynamic film making, and exemplary text strongly suggests Witness in The City be witnessed by all those who savour superlative genre film making.

Having cut his teeth on 'Le dos au mur' and 'Les femmes disparaissent', both of which are 'interesting', Edouard Molinaro impresses with this excellent revenge thriller adapted from the novel of the splendid duo Boileau and Narcejac. Oodles of atmospheric night scenes here and who better to create them than cinematographer Henri Decae. Molinaro has also enlisted as composer the tenor saxophonist Barney Wilens who collaborated with Miles Davis on 'l'ascenseur pour l'echaffaud'. The editing by Robert and Monique Isnardon is especially effective. This also marks the first major role for Lino Ventura who had been steadily climbing the ranks since being discovered by Jacques Becker. Apparently he was offered the choice of playing the assassin or the taxi-driving witness and his decision to play the former proved to be an astute career move. He is simply superlative in the role of a man who exacts revenge for the murder of his wife but thereby embarks on a course from which there is no return. The hunter becomes the hunted and Ventura succeeds in evincing our sympathy. The part of the witness went to Franco Fabrizzi and that of his girlfriend to the always appealing Sandra Milo. Other performances to note are those of Robert Dalban and Micheline Luccione. The milieu, routine and camaraderie of the taxi drivers are wonderfully depicted and the final chase sequence is thrilling. The history of cinema is littered with films whose promise on paper failed to be realised on screen but here everything gels to produce a tense and gripping piece which is an absolute must for devotees of Film Noir.

'Un témoin dans la ville', the third feature film made in 1959 by Édouard Molinaro, begins with a scene of a murder on a train that seems taken from an Alfred Hitchcock film and ends with an anthological and original scene. Between them, in an hour and a half, we are watching one of the best French noir films and the film that launched and consolidated the character of the lone criminal, embodied by Lino Ventura here and in several other films, a character that would also be taken over by other actors and directors (French or not), some among the best.

The original script belongs to the couple of writers Boileau - Narcejac, the very successful authors of the novels of the 'noir' genre in France. Many of their books have been adapted to screens (including by Hitchcock), but here they themselves wrote the screenplay together with Gérard Oury. Ancelin, the main hero of the film commits a premeditated murder. If there are justified crimes, this would be one of them, because the victim is the one who had killed Ancelin's wife and then escaped the legal consequences because of the 'benefit of the doubt'. The crime, however, has a witness, a taxi driver who had been called by the victim a few minutes before he was killed. Ancelin doesn't know what to do. He knows that he risks going to prison for the rest of his life or maybe even to the scaffold, but he is not a born criminal and is not capable of deciding to eliminate the witness. In fact, we do not see Ancelin commit a second murder in the film. The hunter becomes the pray, as the cab driver fraternity rallies to protect their threatened colleague. The film becomes the story of an ordinary man's slide into crime and death.

That in many other cases, the quality of the film resides in the ambiguity. Ancelin is guilty of a morally 'excusable' crime (he avenges his wife and takes out her murderer who escaped justice) and it is not clear whether he intended to commit other crimes or perhaps just convince the witness to keep quiet. Everything is filmed in a Paris at night, in constant motion. Radio taxis seem to predict today's super-connected world, and scenes from the lives of taxi drivers, with the love story between taxi driver Lambert and dispatcher Liliane provide a counterpoint to the dark plot of Ancelin's revenge. Édouard Molinaro is a contemporary of the New Wave and uses some of its inventions (the mobile camera, long shots interspersed with short ones and nervously edited, Paris as a background for love stories or crimes). But he was a director who had the audience in mind, and not himself, like the masters of the New Wave. In a few years he would direct some of the best comedies with Louis de Funès. The jazz-style soundtrack belongs to Barney Wilen, and the cinematography to Henri Decaë, who would also film the masterpiece of the 'lone criminal' genre - Henri Melville's 'Le Samouraï'. Last but not least, we have to talk about Lino Ventura - the actor who carries the film on his shoulders, in the first of his great roles as a lonely hero - positive, negative or ambiguous. I invite you to watch or re-watch the film to decide which category Ancelin belongs to. It will be a satisfying viewing.

Excellent, very entertaining cat-and-mouse thriller, as an avenging husband (the incomparable Lino Ventura) tries to kill a witness to a murder. In its spare monochrome Decae photography, cool jazz soundtrack, nocturnal settings, focus on elaborate plot mechanics, and privileging of an unlovely outsider, the film is reminiscent of Melville. The 'villain' is only responding to a vicious circle of transgression and injustice, and his plight becomes an allegory for the lonely outsider locked out of a conformist society. The rigorous purity of Melville's aesthetic is softened by romance and comedy, but these only intensify the sense of impending tragedy.

This is really a minor work,but which retains a certain passé charm.The main asset of the movie is Henri Decae's cinematography ,as dazzling as usual.All the night scenes are impressive,the taxis gathering for the chase,the zoological garden with its nocturnal birds ,watching the fighting between the two men.

The screenplay is somewhat disappointing,coming for two writers of Boileau-Narcejac calibre(Vertigo,les diaboliques).There are few surprises,unexpected twists,the Boileau-Narcejac trademarks .The very first scene shows Hitchcock's influence ("shadow of a doubt").Lino Ventura is cast against type because he rarely plays the villains.

Perhaps which is to Molinaro's credit is his depiction of the taxi drivers.From their breakfast at dawn in the bistros where they enjoy coffee and croissants to the rooms where the operators send their messages to the drivers,these are charming vignettes of old Paris at the beginning of general De Gaulle mandate.

Edouard Molinaro's best film remains "la mort de Belle"(1963).His career is essentially commercial,the likes of "la cage aux folles" and "l'emmerdeur" (which was to become Billy Wilder's "buddy buddy").