Femme fatale
in La Parisienne in cinema
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This chapter considers manifestations of la Parisienne as femme fatale in Jules Dassin's Du Rififi chez les hommes , Marcel Carne's Le Jour se leve and Le Quai des brumes, and Jean-Luc Godard's A bout de souffle. Du Rififi chez les hommes belongs to a particular strain of French film noir, the mid-1950s French gangster film. According to Vincendeau, Carne's Le Jour se leve and Le Quai des brumes are often cited, along with other films of Poetic Realism, as precursors to American film noir. In Le Quai des brumes, la Parisienne also appears as an unintentional femme fatale in the character of Nelly. A key difference between Mac Orlan's novel and Carne's film is the transposition of the setting from Montmartre in 1903 to Le Havre in 1938.

La Parisienne in cinema

Between art and life

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