Looking at still photographs from this movie, set in post-war Paris and loosely adapted from a short story by Ernest Hemingway, I was expecting film noir. The fact that it stars great actor John Garfield, opposite French actress Micheline Presle (billed here as Prelle), added to this expectation.
However, although some scenes do have that moody, brooding quality, and the shadowy black-and-white camerawork adds to this, the film as a whole is a strange mixture of noir and sentimentality. Director Jean Negulesco and screenwriter Casey Robinson both made some great films, but in this one they seem to be caught between two stools, with flashes of brilliance in between scenes which unashamedly manipulate the emotions. As many reviews point out, the main plot is almost like a reworking of The Champ, moved from the boxing ring to the racecourse.
One of the biggest attractions of this film is the footage showing Paris in 1950. By coincidence, I’ve just seen the new film Julie and Julia, which is also set in the city around this period. But the real black-and-white footage of the post-war bars and streets has a battered quality to it which a movie made in 2009 can’t quite recapture, although that is not to say anything against Nora Ephron’s film, which I liked very much.