Love story between a young docker and a factory girl against the background of the 50-day great dockers’ strike of 1950, when the employees of the port of Marseille stopped work to protest against the war in Indochina.
After five years in prison, Tony teams up with three accomplices to plan the perfect heist: the burglary of a famous Parisian jewelry story. The robbery is successful, but when they cross paths with another gang, the foursome gets into trouble.
When illegal card dealer and recovering heroin addict Frankie Machine (Frank Sinatra) gets out of prison, he decides to straighten up. Armed with nothing but an old drum set, Frankie tries to get honest work as a drummer.
Planted in a Tokyo crime syndicate to probe the death of a fellow Army official, U.S. Army Investigator Eddie Kenner goes undercover as Eddie Spannier to find out more about the syndicate’s leader: local American gangster Sandy Dawson.
The wife and mistress of a loathed school principal plan to murder him with what they believe is the perfect alibi.
One of the definitive policiers of the 1950s, adapted from his own novel by Auguste Le Breton (Rififi) and directed with nocturnal grace by Henri Decoin.
An upper-class widow falls in love with a much younger, down-to-earth nurseryman, much to the disapproval of her children and criticism of her country club peers.
“So you think this is a kind of lifetime style for me? That is not the case. I answer that a film’s rhythm is a part of the milieu that it shows.
A man is seen wandering around in Antwerp, avoiding all contact with other people. He is penniless and desperately wants to leave the country, but can’t pay for his travel. The only people who like him are the boatman’s wife, a prostitute and a little orphan girl called Gigi.
Painter Rick Todd (Dean Martin) is having difficulty with his career, so he starts taking inspiration from the dreams of his friend and roommate, Eugene (Jerry Lewis), a comic book fan who narrates an adventure story while he sleeps.
“I want to live honestly and refuse to contribute to any form of fascism”
Fritz Lang, 1946
Philippe Roger: The author’s ‘vision of the world’ would then be primarily a spatial, concrete point of view?