Deux hommes dans Manhattan

Melville is clearly enjoying himself in this picture. As director, there is a virtuosic flourish to many of the extended shots and the night-time cinematography. As actor, the constant smirk on his character's face is surely that of Melville himself, playing out his personal fantasy as a film noir character in his favourite city.

When the story arrives, it's revealed to be an ethical dilemma: our two principals (Melville as an Agence France Presse journalist and Pierre Grasset as his photographer buddy) discover a French diplomat and ex-Resistance hero dead of a heart attack in an actress's apartment. Do they report the truth, cover it up to preserve the guy's reputation or sensationalise it even more to make a fortune from the exclusive?

Melville was by no means a great actor, but his baleful eyes, bland smile and spiffy bow tie in this film give him a kind of sleazy charm that brings to mind Peter Lorre. His character's name (Moreau) is a pun on "moraux", which means moral, and indeed he is intended to be the moral centre of the film. There are moments, though, when he seems genuinely sinister: when he peeps on a bare-breasted dancer in her dressing room (the scene was censored in the UK), and when he looms threateningly over another girl who has just attempted suicide.

"Deux hommes..." is the most New Wave of all Melville's films. The raw, documentary-style shots, the improvised feel to some of the scenes (Melville makes frequent mistakes when speaking English), the use of real locations and untrained actors (including Melville himself), were jarring to audiences and critics at the time. In the light of Godard and Truffaut we can now better appreciate the type of film-making that Melville helped to inaugurate. Nevertheless, Melville regarded "Deux hommes..." as a failed experiment, returning in his subsequent films to a more classical approach.

In French (Deux hommes dans Manhattan) is a 1959 New York City based French film-noir directed by Jean-Pierre Melville. Starring, Jean- Pierre Melville, Pierre Grasset, Music by Martial Solal, Christian Chevallier Cinematography by Nicolas Hayer

Jean-Pierre Melville filmed both a Noir love letter and, almost a time capsule video documentary of 1958 New York City. From the opening bars of the jazzy score and Googie style credits that run over a wonderful (looking out the back window of a cab) trip down through traffic, a traffic of tail fin adorned cars, traveling South along Broadway, and then on 7th Avenue right through the heart of manically lit Times Square you know you are in for a special visual treat.

Melville's New York is the real deal. Its not some Hollywood back lot dressed up like New York City. Melville's New York is a dreary smoggy winter sky New York. The old New York that belched black coal smoke by the ton into the atmo, a New York of steaming manholes in streets that were choked with Buses and Checker Cabs. Melville's New York was a Holiday Day New York festooned with Christmas decorations two days before December 25th.

Two journalists become de facto detectives tracking down a missing diplomat through the underside of New York.

Pierre Grasset is great as the smart-alek Delmas his picaresque portrayal is very effective playing against Melville who is relatively somber. The film has but few flaws, probably the most notable for me are the interior shots of the E.D.D.I.E. whorehouse, the actresses playing the hookers seem to be speaking English phonetically, and ditto for the stripper Bessie Reed or she may just be dubbed. The excellent soundtrack is by Christian Chevallier and Martial Solal. 8/10

Two Men In Manhattan is available on DVD from Cohen Films it's in French with English subtitles.

This is a road movie. We travel with two men through New York's nightlife in one night (hence the title of the film). The stops are Broadway performers, recording studios, burlesque dancers, brothels, iconic places such as Time Square, the UN building, Rockefeller Center, etc. and along the way we breathe the atmosphere, a jazz trumpet, the neon lights, hot dogs, shadows and dark alleys. The pretext for this ride (in this case the "plot": an investigation of a UN delegate disappearance and some dilemmas of yellow journalism) is just a pretext, as in any good journey. Recommended for road movie fans, New Wave connoisseurs, New Yorkers, jazz lovers, nightlife owls and noir-ish buffs.

French director Jean-Pierre Melville is known for directing several classic films such as Bob le flambeur (1956) and Le samouraï (1967), but he also did some acting over the course of his career. However, his only starring role was in his own 1959 crime film Two Men in Manhattan, where he plays a journalist named Moreau who is assigned to find out why a French diplomat named Fèvre-Berthier was absent from a United Nations council meeting. With his photographer friend Delmas (Pierre Grasset), Moreau suspects a female lover might be involved and follows clues from woman to woman in the night of New York City, a place that never sleeps. There also seems to be a car following Moreau and Delmas...

Said to be a combination of American film noir and the budding French New Wave movement, Two Men in Manhattan very neatly utilizes the good sides of both styles. The urban street views and skyscrapers look excellent in the glow of the bright ad signs on store marquees and the dark, stark lighting set up for interior scenes is a joy to the eye too. The laid-back jazz soundtrack is highly enjoyable, creating a mood softer than in hard boiled detective noirs, even though the seedy locations would fit in such flicks seamlessly as well.

A lot of the film's charm lies on the shoulders of the two protagonists, who suit their roles splendidly. Melville's sad-looking appearance matches his character's melancholic but righteous attitude perfectly, while Grasset makes a great pairing for him as the greedy and amoral Delmas, prone to drinking and sleeping around. Ultimately their opposing approaches to the ethics of journalism are what create one of the main themes of the film; namely, examining the responsibility of the press when publishing stories of delicate nature. Besides the lead duo, the supporting actors do a good job too, from a suicidal stage actress Judith Nelson (Ginger Hall) to a jaded cabaret dancer Bessie Reed (Michèlle Bailly) and a jazz singer Virginia Graham (Glenda Leigh) who we get to see recording a haunting song in a studio.

All in all, when a film successfully combines a totally smooth and cool atmosphere with suspense and humour like Two Men in Manhattan does, it just cannot be anything but highly enjoyable. The movie is simply thoroughly entertaining, but since the technical elements are also very skilfully created, there is no reason to skip this one if you're even remotely interested in film noir and French cinema.

As a native New Yorker, I found the movie a bit creepy. Melville's image of Manhattan is too perfect, a city where the streets are seamless, glistening ribbons of asphalt, where the ashtrays have smoked cigarette butts stacked neatly in them with no sign of ash, where even the glass in telephone booths on the streets are spotless. When a French diplomat disappears and reporter Jean-Paul Melville in his first credited screen role -- his audition must have impressed the director -- is set on his trail, he doesn't realize he himself is being followed. Meanwhile I was looking for a scrap of litter on the street, a straphanger on the subway whose hat and soul have been battered by a tough day.... nothing. Everyone is perfectly dressed, everything is perfectly clean, everyone looks and acts like a serious adult. You should have seen the motley assortment on the E train this afternoon.

Finally, about a quarter hour in, Melville goes to the apartment of his cameraman, Pierre Grasset, and the wallpaper outside his apartment was poorly hung. Aha! I thought, a creature of the demi-monde, someone who cuts corners, was looking out for himself, who had pictures of the young women that the diplomat.... associated with. Off they went into the night, still followed by a mysterious trailer: Melville, the moral reporter, and Grasset, the corrupt guide. I knew they would find their prey; but how moral would Melville be and how corrupt Grasset? And who was following them and why? Who was the hero of this story and exactly what was the Great White Whale they were following?

This movie is Melville's own personal fantasy, set in a fantasy New York glamorous beyond belief to anyone who has dwelt in the real one. He had been born Jean-Pierre Grumbach, and had adopted a new surname in admiration of Herman Melville. He had played Bartleby and written and directed his own movies and now was going on his own voyage to find out if he could be the hero of his own tale.