Criterion Collection - Online Cinematheque

A cockeyed fusion of science fiction, pulp characters, and surrealist poetry, Godard’s irreverent journey to the mysterious Alphaville remains one of the least conventional films of all time. Eddie Constantine stars as intergalactic hero Lemmy Caution, on a mission to kill the inventor of fascist computer Alpha 60.

Jean-Pierre Melville’s masterpiece about the French Resistance against the Nazi occupation went unreleased in the United States for thirty-seven years, before its triumphant theatrical debut in 2006. Atmospheric and gripping, Army of Shadows is Melville’s most personal film, featuring Lino Ventura, Paul Meurisse, Jean-Pierre Cassel, and the incomparable Simone Signoret as intrepid underground fighters who must grapple with their own brand of honor in their battle against Hitler’s regime.

Swift, brutal, and black-hearted, Allen Baron’s New York City noir Blast of Silence is a sensational surprise. This low-budget, carefully crafted portrait of a hit man on assignment in Manhattan during Christmastime follows its stripped-down narrative with mechanical precision, yet also with an eye and ear for the oddball idiosyncrasies of urban living and the imposing beauty of the city. At once visually ragged and artfully composed, and featuring rough, poetic narration performed by Lionel Stander, Blast of Silence is a stylish triumph.

Branded to Kill, the wildly perverse story of the yakuza’s rice-sniffing “No. 3 Killer,” is Seijun Suzuki at his delirious best. From a cookie-cutter studio script, Suzuki delivered this brutal, hilarious, and visually inspired masterpiece—and was promptly fired. Criterion presents the DVD premiere of Branded to Kill in a pristine transfer from the original Nikkatsu-scope master.

There was before Breathless, and there was after Breathless. With its lack of polish, surplus of attitude, crackling personalities of rising stars Jean-Paul Belmondo and Jean Seberg, and anything-goes crime narrative, Jean-Luc Godard’s debut fashioned a simultaneous homage to and critique of the American film genres that influenced and rocked him as a film writer for Cahiers du cinéma. Jazzy, free-form, and sexy, Breathless (À bout de souffle) helped launch the French New Wave and ensured cinema would never be the same.

As hard-hitting as its title, Brute Force was the first of Jules Dassin’s forays into the crime genre, a prison melodrama that takes a critical look at American society as well. Burt Lancaster is the timeworn Joe Collins, who, along with his fellow inmates, lives under the heavy thumb of the sadistic, power-tripping guard Captain Munsey (a riveting Hume Cronyn). Only Collins’s dreams of escape keep him going, but how can he possibly bust out of Munsey’s chains? Matter-of-fact and ferocious, Brute Force builds to an explosive climax that shows the lengths men will go to when fighting for their freedom.

Master thief Corey (Alain Delon) is fresh out of prison. But instead of toeing the line of law-abiding freedom, he finds his steps leading back to the shadowy world of crime, crossing those of a notorious escapee (Gian Maria Volonté) and alcoholic ex-cop (Yves Montand). As the unlikely trio plots a heist against impossible odds, their trail is pursued by a relentless inspector (Bourvil), and fate seals their destinies. Jean-Pierre Melville’s Le cercle rouge combines honorable anti-heroes, coolly atmospheric cinematography, and breathtaking set pieces to create a masterpiece of crime cinema.

After hiding out in Milan for nearly a decade, fugitive gangland chief Abel Davos (Lino Ventura) sneaks back to Paris with his children despite a death sentence hanging over his head. Accompanied by appointed guardian Eric Stark (Jean-Paul Belmondo, fresh off his star turn in Breathless) and beset by backstabbing former friends, Abel begins a journey through the postwar Parisian underworld that’s both throat grabbing and soul searching. A character study of a career criminal at the end of his rope, this rugged noir from Claude Sautet (Un coeur en hiver) is a thrilling highlight of sixties French cinema.

An inspired rendering of Jim Thompson’s pulp novel Pop. 1280, Bertrand Tavernier’s Coup de torchon (Clean Slate) deftly transplants the story of an inept police chief turned heartless killer and his scrappy mistress from the American South to French West Africa. Featuring pitch-perfect performances by Philippe Noiret and Isabelle Huppert, this striking neonoir straddles the line between violence and lyricism with dark humor and visual elegance.

With his customary restraint and ruthless attention to detail, director Jean-Pierre Melville follows the parallel tracks of French underworld criminal Gu (the inimitable Lino Ventura), escaped from prison and roped into one last robbery, and the suave inspector, Blot (Paul Meurisse), relentlessly seeking him. The implosive Le deuxième souffle captures the pathos, loneliness, and excitement of a life in the shadows with methodical suspense and harrowing authenticity, and contains one of the most thrilling heist sequences Melville ever shot.

An acknowledged influence on Psycho, Henri-Georges Clouzot’s horror classic is the story of a sadistic headmaster who brutalizes his fragile wife and his headstrong mistress. The two women murder him and dump his body in a swimming pool; when the pool is drained, no corpse is found. Criterion presents Diabolique in a digital transfer.

The backstabbing criminals in the shadowy underworld of Jean-Pierre Melville’s Le doulos have only one guiding principle: “Lie or die.” A stone-faced Jean-Paul Belmondo stars as enigmatic gangster Silien, who may or may not be responsible for squealing on Faugel (Serge Reggiani), just released from the slammer and already involved in what should have been a simple heist. By the end of this brutal, twisting, and multilayered policier, who will be left to trust? Shot and edited with Melville’s trademark cool and featuring masterfully stylized dialogue and performances, Le doulos (slang for "informant") is one of the filmmaker’s most gripping crime dramas.

Lars von Trier’s stunning debut film is the story of Fisher, an exiled ex-cop who returns to his old beat to catch a serial killer with a taste for young girls. Influenced equally by Hitchcock and science fiction, von Trier (Europa, Breaking the Waves, The Idiots) boldly reinvents expressionist style for his own cinematic vision of a post-apocalyptic world. Shot in shades of sepia, with occasional, startling flashes of bright blue, The Element of Crime (Forbrydelsens Element) combines dark mystery and operatic sweep to yield a pure celluloid nightmare.

In his mesmerizing debut feature, twenty-four-year-old director Louis Malle brought together the beauty of Jeanne Moreau, the camerawork of Henri Decaë, and a now legendary score by Miles Davis. A touchstone of the careers of both its star and director, Elevator to the Gallows is a richly atmospheric thriller of murder and mistaken identity unfolding over one restless Parisian night.

“You will now listen to my voice . . . On the count of ten you will be in Europa . . .” So begins Max von Sydow’s opening narration to Lars von Trier’s hypnotic Europa (known in the U.S. as Zentropa), a fever dream in which American pacifist Leopold Kessler (Jean-Marc Barr) stumbles into a job as a sleeping-car conductor for the Zentropa railways in a Kafkaesque 1945 postwar Frankfurt. With its gorgeous black-and-white and color imagery and meticulously recreated (if then nightmarishly deconstructed) costumes and sets, Europa is one of the great Danish filmmaker’s weirdest and most wonderful works, a runaway-train ride to an oddly futuristic past.

In one of the best performances of his legendary career, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in Peter Yates’s adaptation of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. World-weary and living hand to mouth, Coyle works on the sidelines of the seedy Boston underworld just to make ends meet. But when he finds himself facing a second stretch of hard time, he’s forced to weigh loyalty to his criminal colleagues against snitching to stay free. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark, unforgiving daylight.

Toshiro Mifune is unforgettable as Kingo Gondo, a wealthy industrialist whose family becomes the target of a cold-blooded kidnapper in Akira Kurosawa’s highly influential High and Low (Tengoku to jigoku). Adapting Ed McBain’s detective novel King’s Ransom, Kurosawa moves effortlessly from compelling race-against-time thriller to exacting social commentary, creating a penetrating portrait of contemporary Japanese society. Criterion is proud to present High and Low in an all-new high-definition digital transfer.

Terence Stamp is Willie, a gangster’s henchman turned “supergrass” (informer) trying to live in peaceful hiding in a remote Spanish village. Sun-dappled bliss turns to nerve-racking suspense, however, when two hit men—played by a soulless John Hurt and a youthful, loose-cannon Tim Roth—come a-calling to bring Willie back for execution. This stylish early gem from Stephen Frears boasts terrific performances from a roster of England’s best hard-boiled actors, music by Eric Clapton and virtuoso flamenco guitarist Paco de Lucía, and ravishing photography of its desolate Spanish locations—a splendid backdrop for a rather sordid story.

In David Mamet’s cinema, nothing is as it seems—so you better know what you’re looking for. Unfortunately, the protagonist of Mamet’s nightmarish urban odyssey Homicide, inner-city police detective Bobby Gold (Joe Mantegna), is as bewildered about who he is as who (or what) he’s after. Gold’s investigation, following the murder of an elderly Jewish candy-shop owner, leads him down a path of obscure encounters and clues, to a profound reckoning with his own identity. Filled with Mamet’s trademark verbal play and featuring standout supporting performances from William H. Macy, Ving Rhames, and Rebecca Pidgeon, Homicide is a taut, rich work from a true American original.

Disgraced Swedish detective Jonas Engström (Stellan Skarsgård) travels to northern Norway to solve a brutal murder in Insomnia. Unable to sleep through the night of the midnight sun, Engström quickly loses his grip on the case and his mind. Erik Skjoldbjærg’s debut feature is a deft amalgam of psychological thriller, morality play, and police procedural.

Ernest Hemingway’s gripping short story “The Killers” has fascinated readers and filmmakers for generations. Its first screen incarnation came in 1946, when director Robert Siodmak unleashed The Killers, helping to define the film noir style and launching the careers of Burt Lancaster and Ava Gardner in this archetypal masterpiece

Ernest Hemingway’s gripping short story “The Killers” has fascinated readers and filmmakers for generations. In 1964, Don Siegel—initially slated to direct the 1946 version—took it on, creating the first-ever made-for-TV feature, which would prove too violent for American audiences in the wake of JFK’s assassination.

John Cassavetes engages film noir in his own inimitable style with The Killing of a Chinese Bookie. Ben Gazzara brilliantly portrays gentlemen’s club owner Cosmo Vitelli, a man dedicated to pretenses of composure and self-possession. When he runs afoul of a group of gangsters, Cosmo is forced to commit a horrible crime in a last-ditch effort to save his beloved club and his way of life. Suspenseful, mesmerizing, and idiosyncratic, The Killing of a Chinese Bookie is a thought-provoking examination of desperation and masculine identity.

Bob Hoskins, in his breakthrough film role, stars as a London racketeer fast losing control of his gangland empire; Helen Mirren shines as his classy moll. John Mackenzie’s stylish thriller is a marriage of gangster flicks from both sides of the Atlantic. Criterion presents The Long Good Friday in an exclusive widescreen transfer.

Writer-director Neil Jordan’s breakthrough film is a brilliant, noir-infused love story. Bob Hoskins (who snagged an Oscar nomination for his performance) plays George, a small-time loser employed as a chauffeur to an enigmatic, high-class call girl. His fascination with her leads him on a dangerous quest through the sordid underbelly of London, where love is a weakness to be exploited and betrayed. Criterion is proud to present Mona Lisa in a director-approved special edition.

“There are eight million stories in the Naked City,” as the narrator immortally states at the close of this breathtakingly vivid film—and this is one of them. Master noir craftsman Jules Dassin and newspaperman-cum-producer Mark Hellinger’s dazzling police procedural, The Naked City, was shot entirely on location in New York. As influenced by Italian neorealism as American crime fiction, this double Academy Award winner remains a benchmark for naturalism in noir, living and breathing in the promises and perils of the Big Apple, from its lowest depths to its highest skyscrapers

The setup is pure pulp: A former prostitute relocates to a buttoned-down suburb, determined to fit into mainstream society. But in the strange, hallucinatory territory of writer/director/producer Sam Fuller, perverse secrets simmer beneath a seemingly wholesome facade. Criterion is proud to present The Naked Kiss.

Two-bit hustler Harry Fabian (Richard Widmark) aches for a life of ease and plenty. Trailed by an inglorious history of go-nowhere schemes, he stumbles upon a chance of a lifetime in the form of legendary wrestler Gregorius the Great (Stanislaus Zbyszko). But there is no easy money in this underworld of shifting alliances, bottomless graft, and pummeled flesh––and Fabian soon learns the horrible price of his ambition. Luminously shot in the streets of London, Jules Dassin’s Night and the City is film noir of the first order and one of the director’s crowning achievements.

Petty crook Skip McCoy (Richard Widmark) has his eyes fixed on the big score. When the cocky three-time convict picks the pocketbook of unsuspecting Candy (Jean Peters), he finds a haul bigger than he could have imagined: a strip of microfilm bearing confidential U.S. secrets. Tailed by manipulative Feds and the unwitting courier’s Communist puppeteers, Skip and Candy find themselves in a precarious gambit that pits greed against redemption, Right versus Red, and passion against self-preservation. With its dazzling cast and director Samuel Fuller’s signature raw energy and hardboiled repartee, Pickup on South Street is a true film noir classic by one of America’s most passionate cinematic craftsmen.

After making such American noir classics as The Naked City and Brute Force, blacklisted director Jules Dassin went to Paris and embarked on his masterpiece: a twisting, turning tale of four ex-cons who hatch one last glorious heist in the City of Lights. At once naturalistic and expressionistic, this melange of suspense, brutality, and dark humor was an international hit and earned Dassin the Best Director prize at the Cannes Film Festival.

In a career-defining performance, Alain Delon plays a contract killer with samurai instincts. A razor-sharp cocktail of 1940s American gangster cinema and 1960s French pop culture—with a liberal dose of Japanese lone-warrior mythology—maverick director Jean-Pierre Melville’s masterpiece Le Samouraï defines cool.

François Truffaut is drunk on the possibilities of cinema in this, his most playful film. Part thriller, part comedy, part tragedy, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags, guns, clowns, and thugs, this razor-sharp homage to the American gangster film is pure nouvelle vague.

A bad day gets worse for young detective Murakami when a pickpocket steals his gun on a hot, crowded bus. Desperate to right the wrong, he goes undercover, scavenging Tokyo’s sweltering streets for the stray dog whose desperation has led him to a life of crime. With each step, cop and criminal’s lives become more intertwined and the investigation becomes an examination of Murakami’s own dark side. Starring Toshiro Mifune, as the rookie cop, and Takashi Shimura, as the seasoned detective who keeps him on the right side of the law, Stray Dog (Nora Inu) goes beyond a crime thriller, probing the squalid world of postwar Japan and the nature of the criminal mind.

Thieves’ Highway vividly depicts the perilous world of “long-haul boys,” who drive by night to bring their goods to the markets of America’s cities. Richard Conte stars as ex-G.I. Nick Garcos, a tyro trucker bent on satisfaction from the man responsible for crippling his father—ruthless market operator Mike Figlia (Lee J. Cobb). But when Figlia gets wise to his plan, Nick finds himself in a web of treachery and heartbreak. The Criterion Collection is proud to present this searing melodrama from master Jules Dassin.

Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, black-market opportunist Harry Lime—and thus begins this legendary tale of love, deception, and murder. Thanks to brilliant performances by Joseph Cotten, Alida Valli, and Orson Welles; Anton Karas’s evocative zither score; Graham Greene’s razor-sharp dialogue; and Robert Krasker’s dramatic use of light and shadow, The Third Man, directed by the inimitable Carol Reed, only grows in stature as the years pass.

Jean Gabin is at his most wearily romantic as aging gangster Max le Menteur in the Jacques Becker gem Touchez pas au grisbi (Hands Off the Loot!). Having pulled off the heist of a lifetime, Max looks forward to spending his remaining days relaxing with his beautiful young girlfriend. But when Riton (René Dary), Max’s hapless partner and best friend, lets word of the loot slip to loose-lipped, two-timing Josy (Jeanne Moreau), Max is reluctantly drawn back into the underworld. A touchstone of the gangster-film genre, Touchez pas au grisbi is also pure Becker—understated, elegant, evocative.