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Les félins [Joy House / The Love Cage] (René Clément, 1964)
May
14
Barbara Hill (Lola Albright) going through Marc Borel's (Alain Delon) passport, which states Marc's date of birth as May 14. On Barbara's desk several curiosities, including a shrunken head in a glass case. DP: Henri Decaë.
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Plein soleil [Purple Noon] (René Clément, 1960)
Aug
20
1959
A contract for Marge, a sailboat, dated August 20, 1959. DP: Henri Decaë.
“Marge, my love, my angel.”
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Plein soleil [Purple Noon] (René Clément, 1960)
Jun
15
croissants
Tom Ripley (Alain Delon) going though his passport over breakfast. Multiple passport photos, a fountain pen, and a magnifying glass take precedence over his fresh croissants. DP: Henri Decaë.
“Why bother having money when you can spend other people's?”
– Philippe Greenleaf
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Ascenseur pour l'échafaud [Elevator to the Gallows] (Louis Malle, 1958)
Dec
13
croissants
Mr Tavernier (Maurice Ronet) taking a bite out of a croissant while dialling a number in a lively French café. A blonde behind him shows an interest. DP: Henri Decaë.
“Have you seen Mr Tavernier tonight?”
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Les enfants terribles [The Terrible Children] (Jean-Pierre Melville, 1950)
Nov
13
World Orphans Day
The siblings – children on the cusp of adulthood, played by adults – sharing a bed. Elisabeth (Nicole Stéphane) points up towards the ceiling with one arm wrapped around her brother Paul's (Edouard Dermithe) neck. Both wear dressing gowns. DP: Henri Decaë.
With their mother bedridden, Elisabeth (Nicole Stéphane) nurtures her snowball-fight-injured brother Paul (Edouard Dermithe) back to health.
“Their heritage of instability, extravagant caprice, and natural elegance was their paternal portion.”
– Jean Cocteau, Les enfants terribles (1929)
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Le Samouraï [The Samurai] (Jean-Pierre Melville, 1967)
Apr
25
License Plates Day
A pair of hands switching license plates on the front of a Citroën DS. The scene is almost black-and-white. DP: Henri Decaë.
Hitman Jef Costello (Alain Delon) coolly drives a #Citroën DS 21 to his garagiste (André Salgues), who routinely switches the license plates in a beautifully wordless, efficiently lit scene.
“I never lose. Never really.”
