Traqué

As had been the case with STRANGE ILLUSION (1945), I kept postponing my purchase of this film's All Day Entertainment DVD ever since its 2002 release; then, it surprisingly turned up not too long ago on late-night Italian TV (in English with forced Italian subtitles) which I decided to tape and have now taken this opportunity – i.e. my unfortunately erratic month-long "Film Noir" marathon – to finally check out GUNMAN IN THE STREETS.

Being uniquely a French production shot in English (though, supposedly, there's a simultaneously-made French-language version directed by one Boris Lewin!) and involving talent of mixed nationality on both sides of the camera, this overlooked gem is justly celebrated by connoisseurs now as a 'lost' genre classic. Gritty and uncompromising, it's bookended – like THE WILD BUNCH (1969)! – by a couple of exciting and elaborately staged shootouts of startling violence to which, I'd say, contemporary American cinema had no equivalent: the opener (involving gangster Dane Clark's daring daylight escape from police custody) taking place in crowded streets and the finale in the gang's warehouse hideout (which the police approach as if it were a military operation).

Clark is a compelling presence here (see also my review of PAID TO KILL [1954] for comparison): edgy yet bold and with a decidedly mean streak about him, he evokes memories of James Cagney in WHITE HEAT (1949) – check out his final enraged assertion that he doesn't need anyone a' la Cody Jarrett going berserk at the "top of the world"– and, like that film, this is really a 1930s gangster picture brought up to date. Of the French actors, the ones who come off best are those most at ease with the "foreign" language – both Simone Signoret and Fernand Gravet had appeared in English-speaking roles before; she excels as the quintessential gangster's moll, young but obviously seasoned and whose death scene achieves a near-poetic quality, while he brings a quiet determination (concealed under an air of old-style sophistication) to his Police Commissioner role. Clark manages to remain one step ahead of the law till the very end – though he nearly escapes getting caught in a department store and in a police raid on his former headquarters; for a long part of the duration, he holes up in the apartment of a sleazy photographer (with an amiable but ill-treated white feline as a pet) who ratted on him.

American director Tuttle is best-known for THIS GUN FOR HIRE (1942), the noir classic which made a star of Alan Ladd and with whom he would soon reteam for another gangster flick – HELL ON FRISCO BAY (1955). Eugen Shufftan's camera-work throughout is dazzling, vividly capturing the essential realism of the French locations; Joe Hajos' moody score is also notable. If there's a quibble I have with the film, it's that we never learn what kind of racket Clark is involved in – because of this, it loses some steam during the last act (where he meets up with his anonymous-looking criminal associates) but picks up the pace again with the afore-mentioned climactic bout of nihilism. By the way, some reviewers mention a 1975 film called LA TRAQUE (with Mimsy Farmer and Michel Lonsdale) as a remake of this one – but, from what I read on the IMDb, it seems to have a totally different plot line!

Based on other reviews I was looking forward to seeing this "lost" film. It was disappointing. The plot was simplistic even by B movie standards. The main protagonist Eddy Roback is in no way romanticized, there is not much character development or background or back-story which means he is just a vicious thug. The director built tension well; there were some interesting scenes such as the scene in the dept store where he temporarily abducts a kid for cover, adding sociopath to this thugs character. Dane Clark added little more than brooding and visceral reaction with minimal dialogue, he brought little to this role, definitely not a leading Man. This is a unique film noir in that its set in Paris in English but that's about the only reason to watch this movie.

Long Lost Foreign Film-Noir that wasn't available for Viewing in the US until 2001, it finally arrived and was well Received by Critics and Favorably Reviewed by Film-Noir Enthusiasts.

It could be called a Cinematographers Movie because it is Literally Drenched in Fog, Shadows, Rain, and Darkness. Almost all of the Movie takes place at Night except the Beginning and the End.

Cigarettes dangle from Luscious Lips, smoke and fog swirl as the Title Character is on the Lam after Escaping the Clutches of the Law that is only a Step Behind. Things weave in and out of Dingy Establishments, such as a Bi-Sexual Smut Peddler's claustrophobic Apartment loaded with Girly Photos on the Wall and a Fluffy White Cat who turns out to be a real Friend to this Pathetic Person.

The two Leads, Dane Clark and Simone Signoret are Fantastic and the Supporting Players are all just Fine, but it is the Ambiance and the Gritty Tone that makes this a Joy to Watch.

Ironically it was the French Film Critics that noticed and Coined the term Film-Noir, and here there Brainchild came Home to Roost. It was Welcomed with this Allied Collaboration and Delivered one of its own, True to Form for the Genre and added a Fine Entry for the Pantheon.

American expatriates actor Dane Clark and director Frank Tuttle shot this gripping noir film which does not for one split second let up in the tension department. From the second American criminal Clark escapes police custody and becomes a fugitive you're held to your seats be it the theater or your living room couch.

Unlike films where the man on the run is romanticized, not so in Gunman In The Streets. Clark is one dangerous man, at one point when he's trapped in a department store in Paris, he grabs up a small boy and uses him to shield his identity, the gendarmes not thinking that their quarry would have a child. The tension is pretty rough there as you wonder if someone will recognize Clark and bullets start flying.

Simone Signoret plays the gangster's moll as tough in France as they are in America. She's moved on to another American, newspaper reporter Robert Duke. Duke loves Simone, but loves a story more as he agrees to help Clark escape. In the end Simone can't stay away from Clark.

Two more roles of note, Fernand Gravey plays the determined police inspector pulling out all the stops to get Clark and Michel Andre who plays a part Peter Lorre would have had here on this side of the pond, the man looking to sell out all.

Gunman In The Streets is a gripping noir thriller and the climax very much similar to White Heat.

Dane Clark (Roback) escapes from a police escort van in France and needs to get across the Belgian border to secure his freedom. He enlists the help of ex-girlfriend Simone Signoret (Denise). Can he make it?

Ok. So, what was this film all about! The main springboard for the whole film is the relationship between our escaped prisoner Dane Clark (Roback) and his ex-girlfriend Simone Signoret (Denise). But this makes no sense at all. They are no longer an item. Signoret has even started to date a new boyfriend Robert Duke (Frank) who she is happy with. I'm not sure why as he looks like Andrew Marr, an annoying political journalist who currently haunts Sunday morning TV in the UK. This relationship also makes no sense but we can swallow it if we have to - she could really do much better. He is wealthy, though. What is difficult to believe is why she would want to go so out of her way to help Clark, an ex-lover that she has finished with. And why was she ever with him as he is a horrible person and he is never kind to her. In fact, quite the opposite despite the help that she offers. So, the whole film is just unbelievable. Nothing rings true. We certainly can't sympathize with Clark as the main character as he is an asshole. I found no-one to relate to. It is one of those rare films where I want the bad guy caught and found myself rooting for the police.

Simone Signoret single-handedly pulls this film into the "ok" category. Nothing more, I'm afraid.