French re­ally knew their noir

Los Angeles Times - - AT THE MOVIES - — Ken­neth Tu­ran

Sub­ti­tled “Rare French Film Noir, 1948-1963,” the muchan­tic­i­pated se­ries “The French Had a Name for It” ex­plores the no­tion that the French not only gave a name to the dark­end-of-the-street melo­dra­mas but that they also made some of the best, most in­volv­ing ex­am­ples of the genre. Play­ing Fri­day night through Mon­day night at the Amer­i­can Cine­math­eque’s Aero Theatre are eight rarely seen films with ma­jor stars like Brigitte Bar­dot, Jean Gabin and Si­mone Sig­noret in ways we’ve not seen them be­fore.

The se­ries opens Fri­day with a dou­ble bill of Bar­dot, on trial for her life in “La Vérité” and cozy­ing up to the great Gabin in “Love Is My Pro­fes­sion.” On Satur­day, there’s a Lino Ven­tura dou­ble bill, with the crack­ling “Classe Tous Risques” paired with “Wit­ness in the City.” Sun­day has two films di­rected by Julien Du­vivier, “Dead­lier Than the Male” and “High­way Pickup.” The se­ries con­cludes Mon­day with two pic­tures star­ring Bernard Blier, “The Sev­enth Ju­ror” and “Dédée d’An­vers,” with Sig­noret in the ti­tle role. The movies start at 7:30 p.m. at the Aero, 1328 Mon­tana Ave., Santa Mon­ica. www.amer­i­cancin­e­math­e­que­cal­en­ tre_events.

Rialto Pic­tures

A MELEE fol­lows a heist in Claude Sautet’s “Classe Tous Risques,” part of a noir se­ries at Aero Theatre.

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