nf0069: when talking about the French gangster film [0.4] very often and [0.3] 
paradoxically in French one talks about the policier [0.4] that's the name of 
the genre [0.3] so [0.3] when you you see the word policier er I-E [0.7] police 
which relates to the police it doesn't necessarily mean that [0.4] it's to do 
with a police film or police procedure as the [0.3] you have in the American 
genres [0.3] but it's [0.3] co-, covers all [0.5] er virtually all the films er 
to do with crime [0.3] er pretty much from the nineteen-fifties onwards so [0.
4] er [0.3] a gangster film and a police film will both be called policier in 
French [0.3] and [0.2] sometimes you'll see the in slang this becomes polar [0.
5] er [2.8] i'm sorry i hope it's not too awkward if i move [0.5] er [0.4] 
polar is P-O-L-A-R [1.0] er is [0.7] yep [0.4] 
sf0070: sorry [0.6] 
nf0069: okay [0.5] we're just beginning [0.4] polar is the slang word for [0.2] 
policier so le polar refers to [0.2] the genre of the [0.3] police [0.2] crime 
gangster movie in French [0.4] er [0.3] specifically from the nineteen-fifties 
late forties fifties onwards [0.7] and [0.8] so that i will 
talk today about a particular genre [0.3] or subgenre of French crime films and 
film noir which arises [0.3] in the mid-fifties [0.3] especially with three [0.
2] key movies [0.2] which are the ones that are at the top of your handout [0.
4] er and that is Touchez pas au Grisbi [0.3] which i'll refer to as Grisbi [0.
5] er Du Rififi Chez les Hommes [0.4] ri-, Rififi [0.4] and er Bob le Flambeur 
the film you're going to see [0.2] this afternoon [0.6] er [0.8] okay and [0.6] 
er the theme of the lecture in a sense will be that of hybridity [0.5] and 
especially [0.2] hybridity between [0.2] French and American [0.4] culture 
French and America cinema [0.3] er [0.2] and to start starting with [0.2] 
literature [0.6] so that [0.6] if you look at the bottom of your handout 
there's er a kind of s-, skeleton of the [0.5] er lecture [0.5] and er i will 
start with the literary origins [0.2] of the genre [0.4] because [0.3] er [0.3] 
when it comes to those gangster films those policiers of the mid-fifties 
starting particularly with Touchez pas au Grisbi [0.5] but also some Eddie 
Constantine movies [0.2] er earlier on [0.5] er they are films which are very 
directly related to [0.4] er 
literature [0.3] to crime [0.3] literature and in particular the famous [0.3] 
Serie Noire [0.3] er which i've already mentioned [0.2] which was an imprint of 
the er French publisher Gallimard [3.0] er which [0.5] started [0.2] at the er 
immediately at the end of the war [0.4] and has remained extremely successful 
[0.5] i brought you so just to [0.2] make you er [5.0] like to [1.0] one of 
these [1.0] to show you er this is an original Serie Noire book [0.5] er it's 
very precious to me [0.2] it actually happens to be the one on which [0.3] er 
Goddard's film Pierrot le Fou [0.2] is very loosely based er in English or [0.
4] American it's called Obsession and this one in French it's called Le Démon 
d'Onze Heures [0.3] if you read it [0.2] it's very very distantly related to 
Pierrot le Fou in case you know that film [0.4] er [0.3] but [0.2] i just 
wanted to show you er the cover that is the original cover [0.3] er of the 
Serie Noire and as you can see it's the the background is black [0.4] and it 
uses red er [0.3] yellow [0.3] lettering [0.7] er [0.2] and the series was 
founded by Marcel Duhamel his name is on 
your er [0.8] er handout [0.5] who was er an ex-member of the surrealist group 
in the nineteen-twenties [0.7] and [0.2] he was very er much linked to the 
surrealists throughout the twenties and the thirties [0.5] and James Naremore 
in the book More than Night which i've already quoted from [0.4] says that er 
er Duhamel was particularly er interested in [0.5] er the researches into 
sexuality which the surrealists conducted er during the the twenties and early 
nineteen-thirties [0.5] and [0.6] in the American hard-boiled [0.2] er thriller 
what the surrealists saw as i've already mentioned was [0.4] er this notion of 
[0.3] eroticized crime whi-, su-, subverting as it were [0.3] er the fabric of 
bourgeois society [0.3] so that [0.4] er one can see then the relationship er 
directed to the surrealists through the person of Duhamel er who [0.3] then in 
forty-six begins the series of the Serie Noire [0.5] and the Serie Noire 
published [0.4] primar-, initially [0.3] primarily American writers [0.2] in 
translation [0.3] and famously [0.2] it always says underneath [0.6] traduit de 
l'Americain translated from the 
American [0.3] not from the English [0.3] er even though sometimes some of the 
writers were British but [0.3] er [0.7] and also famously a number of French 
writers wrote for the Serie Noire [0.4] under American pseudonyms [0.3] er such 
was the the aura of so they pretended [0.4] er to translate work into French 
from the American [0.2] which in fact they had written into French in the first 
place [0.4] but [0.3] the the the basis of the Serie Noire was to [0.2] to 
publish to translate and publish [0.3] American [0.2] writers [0.3] and Duhamel 
encouraged also people like Chester Himes for example to to write for the 
series [0.8] er Duhamel one finds also linked to the cinema er in two ways one 
is that he was [0.3] he he appears in a number of films by Jean Renoir in the 
thirties as an actor [0.4] and also [0.3] he wri-, he wrote the preface to [0.
3] the book on film noir by Borde and Chaumeton [0.2] fa-, book that's already 
been mentioned [0.7] er several times [0.8] er and i think i er also wanted to 
show you the the cover [0.2] er and also the cover of another [0.3] er 
Gallimard book [0.6] to make the point that which i think is 
is very telling the design of that series [0.5] is that [0.3] the book combined 
[0.2] the kind of sobriety [0.5] of Gallimard publishing this is this was 
Gallimard [0.3] very famous literary er imprint looks like this is [0.2] er a 
copy of er a book by Marcel Proust but [0.3] i could have picked up any [0.2] 
they all look the same [0.3] they have the this cream background and the red 
lettering [0.3] and this [0.2] this this design hasn't changed er throughout 
the century practically [0.3] and there is that sense of [0.2] classicism [0.2] 
sobriety [0.4] and what one sees here i think is is the a kind of [0.4] mixture 
of that sobriety and classicism [0.3] with the lurid colours of pulp fiction 
the black and the yellow [0.4] er [0.3] colours which [0.2] tend to appear on a 
number of [0.6] artefacts to to around crime [0.3] and it this is er this is 
some press material for a film called [0.4] Du Rififi Chez les Femmes which was 
[0.4] er a kind of rip off as it were and and follow up to [0.2] Rififi Chez 
les Hommes [0.3] and you see that the black and white background and the and 
the lurid [0.2] er yellow colour [0.5] so [0.4] er [0.9] and the [0.3] er the 
reason why er [0.2] i'm talking about [0.2] the er [0.6] the Serie Noire 
writers [0.5] er in relation to the films [0.4] is is that [0.4] they are on 
the one hand those indirect connections through Duhamel [0.7] between 
surrealism [0.4] er literary culture and the cinema [0.3] but also because the 
three films we're talking about [0.3] were directly based on or written by er 
[0.7] writers from the Serie Noire [0.3] and in particular you have it on your 
er [0.4] handout [0.4] er [0.2] Albert Simonin [1.0] er who wrote [0.5] Touchez 
pas au Grisbi [0.5] er and i have here [0.8] the the book Touchez pas au Grisbi 
alas it's not an original Serie Noire [0.4] it's a vulgar folio reprint of the 
[0.4] late eight-, eighties but [0.3] and you can see that on the cover what 
they've put is a a kind of [0.4] er a graphic version of [0.2] er Gabin Jeanne 
Moreau in the film [0.6] er so that's the s-, [0.2] sort of obvious er [0.8] 
connection to the movie [0.3] for the readers of the eighties [0.4] er but er 
Simonin then [0.3] wrote [0.3] er Touchez pas au Grisbi [0.4] in slang [0.4] 
and er the the the book was adapted to the film that you've saw you've seen 
this morning and Auguste Le Breton [0.5] 
wrote [0.4] er Rififi and he wrote the dialogues of Bob le Flambeur [0.8] which 
you will see [0.4] this afternoon [0.6] er after the lecture and the the 
importance of Le Breton of those writers in the fifties is shown by the fact 
that [0.4] er Jean-Pierre Melville the director of Bob le Flambeur has er said 
that [0.4] he [0.2] used Le Breton [0.2] as a marketing ploy [0.2] that [0.4] 
er at the time he made Bob le Flambeur in nineteen-fifty-five fifty-six [0.4] 
er [0.2] he was not a well known director [0.2] the film doesn't have a star 
unlike Grisbi which had Jean Gabin [0.3] the star of Bob le Flambeur [0.3] in 
nineteen-fifty-six [0.3] was Auguste Le Breton [0.2] that's the name that sold 
the movie [0.4] today of course er it's Jean-Pierre Melville's name which which 
is prominent [0.2] but at the time [0.2] er Melville recognized that he needed 
er Le Breton [0.8] in order to er to sell his film [0.4] and Le Breton wrote 
the dialogue er in the slang [0.3] which was accustomed to er the writers of 
the Serie Noire [0.4] in French [0.6] okay [0.4] just a word then about er 
language er [0.8] and and that is that [0.4] er tho-, those books 
were written in slang [0.4] er in the argot [0.5] that's the French word for 
slang er but you you'll come across it [0.3] a number of times [0.6] er [0.9] 
which [0.3] er [0.4] was [0.2] a a kind of romanticized version [0.4] of [0.3] 
crooks' [0.6] slang [0.3] er which has a long history er in in French language 
going back to the late Middle Ages [0.4] er and which was revived in the 
nineteenth century [0.3] by a number of classic writers like Victor Hugo but 
also [0.4] er some of the writers of [0.4] the popular novels which were the 
antecedents of the crime novels [0.3] people like Eugène Sue his name is 
written on the er on the handout [0.4] so that [0.3] er [0.2] that sla-, slang 
if you like had lo-, very [0.3] er old history and and er [0.6] distant origins 
in French language [0.4] er [0.2] and went through a number of revivals [0.5] 
and in the post-war period went through a particularly dramatic revival [0.2] 
through the writers of the of the Serie Noire [0.5] and [0.3] the [0.2] 
importance of the slang er is is on is felt on many levels [0.3] and it's it 
advertises itself immediately from the titles of the film [0.3] so [0.2] for 
the French audience of the mid-fifties [0.6] words like grisbi [0.4] er ha-, 
chnouf as in Razzia sur la Chnouf which means drugs [0.3] er [0.3] rififi [0.3] 
and so on [0.2] were words which were not er necessarily in everyday use but 
but had that aura [0.2] of crim-, criminal language [0.2] so that right from 
the title of the films [0.2] the their er the nature [0.3] of the literature on 
which the films were based and the criminal milieu [0.3] which was evoked in 
the film [0.2] was was made evident [0.4] er and of course [0.2] er if you [0.
2] if you don't speak French the er the kind of flavour of it er is lost and we 
we have to be reconciled to that [0.3] but it is [0.3] quite an important 
aspect of [0.5] of the films the way in which the lines are spoken and the the 
words of slang [0.3] er [0.2] which are used [0.4] and it's it's it was er very 
important to the film [0.3] in a way which is made very self-conscious in the 
films [0.3] so [0.7] i want to show you now [0.3] two [0.3] extracts before we 
er move on to [0.4] er the [0.7] the [0.2] the the gangster 
films themselves er and especially Grisbi and Bob le Flambeur [0.5] i want to 
show you an extract first of all from er a film with Eddie Constantine [0.6] er 
and then an extract from Rififi so i know some of you i hope most of you have 
seen Rififi but [0.2] er nevertheless we'll s-, we'll look [0.4] at an extract 
[0.9] so backtracking a little bit er on on on on the handouts still on the [0.
2] literary origins [0.2] er [0.8] you see that i make mention of American hard-
, hard-boiled writers which i've already mentioned so people like Dashiell 
Hammett Raymond Chandler and so on [0.4] all those writers who were [0.5] 
translated [0.2] into the Serie Noire [0.5] but another one another writer who 
was translated and who may not be [0.3] as meaningful to you today as [0.2] 
Chandler and Hammett are [0.3] was Peter Cheyney [0.4] who wrote er a series of 
novels with a a private detective called Lemmy Caution [0.7] er [3.4] and a-, 
according to er [0.6] Jill Forbes er the f-, the very first [0.3] er [0.2] book 
published by Serie Noire [0.3] was a book 
called Poison Ivy [0.2] by Cheyney [0.3] er and that's it's er and it's the 
book which is adapted [0.4] er into a film called [0.2] La Môme Vert-de-Gris 
[0.3] which would translate as The Vert-de-Gris Chick [0.2] er sort of that 
that's the sort of flavour of it [0.4] and [0.3] which was a film wh-, the f-, 
wh-, the film which really made Eddie Constantine into a star [0.7] and i'm 
going to show you [0.3] a quick extract [0.5] er now Eddie Constantine er was 
an American [0.3] but who'd come to work in France he was a singer [0.6] and [0.
3] he er was a protégé of e-, of the singer Edith Piaf I-E lover [0.4] and [0.
3] she kind of helped his career initially [0.2] and then [0.2] er he started 
getting parts small parts in movies [0.3] and with er La Môme Vert-de-Gris he 
became a major star [0.3] through the the the mid-fifties and [0.2] er through 
the fifties really [0.9] and the [0.5] i i will come to sa-, to talk talk later 
on about [0.3] er the [0.2] attitude to American culture in those films but [0.
3] the [0.2] er interesting aspect of con-, Eddie Constantine and i pronounce 
him [0.2] on on purpose as Constantine and not 
Constantine because [0.2] he was known as Eddie Constantine in effect [0.3] he 
became a French star [0.3] and [0.2] in fact after he made those movies er he 
tried to revive his career in America and and sort of [0.3] didn't it didn't 
work [0.2] so he was really a French [0.2] star [0.2] but a French star as an 
American [0.5] and in those [0.2] er movies of the mid-fifties [0.3] what he 
represented was [0.2] the American [0.3] which [0.3] in the context of the film 
meant [0.2] a man who was tall [0.2] who was muscular [0.4] athletic [0.4] er 
[0.2] who leaps and and er er leaps about er the frame [0.3] who knocks people 
er out and so on [0.3] and he's [0.6] very often placed in contrast with French 
counterparts [0.3] who tend to be [0.2] older fatter [0.3] less athletic and so 
on [0.2] sort of [0.2] if you think of [0.2] Jean Gabin in Grisbi [0.3] right 
[0.2] and now [0.2] you're going to see Eddie Constantine in La Môme Vert-de-
Gris [0.2] you see what i mean [0.3] er so [0.9] er this is a bit towards the 
end of the film [0.4] where and i i there are no er subtitles i apologize for 
that but er it'll be quite obvious [0.3] he's been caught by the gang of 
villains he's investigating [0.3] and 
among those villains is [0.3] the famous [0.4] chick [0.3] the la môme vert-de-
gris the woman [0.4] er and [0.3] you will see that she does a kind of dramatic 
[0.2] er turnaround and [0.2] sort of comes onto his side [0.3] but just [0.3] 
watch for the [0.5] er [1.5] er [0.3] just watch for [0.3] er the movements [0.
3] his presence in the frame [0.3] and if you speak a little bit of French just 
listen to his accent [1.4] when he when he speaks [8.7] 
nf0069: so that's him 
nf0069: okay er [2.1] the [1.3] we'll sto-, stop it here then then then there's 
a long pursuit on the on the roof [0.5] er [0.8] er can can you sorry eject 
this one and put the next one in [0.2] thanks [0.5] as you can i mean as you 
can see er [0.3] i think compared to Grisbi this morning [0.2] really there's a 
much 
more [0.3] a lot more action [0.3] er and there's er more than you see in this 
extract in the rest of the film [0.4] er more physical action [0.2] er and and 
the the his figure and and his er er body [0.2] movements are very different 
from what you see [0.4] in something like Grisbi and what you will see in Bob 
le Flambeur this afternoon [0.4] er [0.2] but what is also very obvious is [0.
3] the kind of [0.4] er [0.8] self-consciousness and the parody [0.2] that that 
that perma-, p-, pervades the film [0.3] and that's something which is [0.4] i 
think [0.3] er very er [0.8] true of the genre in general [0.2] but especially 
so of this Peter Cheyney adaptation [0.2] it's already in the literature it's 
already in the books themselves [0.3] but the way they play them the way Eddie 
Constantine [0.2] er says his lines for example [0.2] very much emphasizes this 
parodic element [0.3] er [0.2] and this self-consciousness [0.3] and that's the 
link to [0.2] er the next extract from Rififi [0.3] about the self-
consciousness and [0.3] also i wanted to show you that particular moment er 
well it's very nice anyway but also [0.2] because [0.3] er it [0.4] er reveals 
the 
self-consciousness about the use of language and and slang [0.3] it's [0.4] 
towards the beginning of the film and it's the a scene in a cabaret with a a 
woman who is who sings [0.3] er the the theme song Rififi [0.3] er and [0.3] in 
the the the words of the song talks about [0.2] the word rififi itself [0.2] 
okay [0.9] so let's [1.1] have a look 
nf0069: what's interesting er about this er well many things are interesting 
about this er extract but [0.4] it's the importance that's given to [0.4] crime 
as a spectacle [0.4] er which is then [0.3] er [0.3] m-, what we see here is 
the perfect er mise-en-abyme [0.4] yes you know the expression mise-en-abyme a 
kind of [0.3] repeated mirror image of something [0.3] so that [0.3] wha-, what 
we have here are for example [0.3] the relationship between the gangster and 
the gangster moll [0.2] that's all [0.3] d-, signified by the words of the song 
but also signified by the [0.3] silhouettes of the dancers [0.3] er that we see 
[0.2] er projected [0.4] er [0.3] and at the same time [0.2] the importance of 
[0.3] the language and the importance of [0.2] er the c-, the criminal element 
are [0.5] themselves made into a spectacle in 
the the song of the woman and a-, and also the dancers [0.4] er mise-en-abyme 
[0.5] in case you [4.4] er it's [0.5] comes a term that comes from heraldry 
which means [0.2] that you know there's an image within an image within an 
image so [0.3] that [0.4] that moment really condenses a lot [0.2] of [0.2] 
what the rest of the film does [0.4] er in the mode which is of course not [0.
2] er if you've s-, for those who've seen the whole film [0.4] er that the mode 
is not [0.6] the same throughout the film the film is much bleaker [0.2] than 
this particular moment would suggest er er s-, particularly compared to [0.3] 
Grisbi [0.2] and Bob le Flambeur [0.3] but nevertheless [0.3] er i think that 
there is that that very interesting [0.2] highlighting [0.3] of [0.3] the the 
the elements of the film and also [0.2] the crim-, of crime as a spectacle [1.
2] okay [0.3] now [0.4] er [0.3] a few words er my point two on the handout 
about the place of the gangster films [0.4] in the French film industry of the 
time [0.4] er [0.4] the films we're talking about were all [0.3] very popular 
movies [0.3] er [0.6] at the box 
office er and hence [0.3] and especially with Grisbi [0.4] er Bob le Flambeur 
and Rififi [0.3] er they're films which won prizes and which were popular at 
the box office and [0.2] and that's one of the reasons why they started [0.3] 
er a kind of [0.2] a new wave of the genre of the policiers er [0.8] in French 
cinema [0.8] er [0.3] but what's interesting about them [0.3] with the 
exception of Bob le Flambeur which was very much an independent production [0.
5] is that [0.4] films like Rififi like Grisbi [0.2] were very much if you like 
in Hollywood terms there would be [0.2] A productions in the sense of [0.3] the 
directors were well known [0.2] they're films with stars [0.2] with large 
budgets [0.2] with sets and so on [0.3] for instance the sets of Rififi were 
designed by Alexander Trauner who Alexander Trauner who was er [0.5] well known 
set designer [0.2] er [0.7] in fact [0.4] from the er [0.8] period of the the 
poetic realist films ver-, one of the best known set designers in French cinema 
[0.6] er and [0.3] so these are very much [0.6] A productions g-, big 
productions [0.3] but of course with quote unquote B subjects [0.3] er [0.2] 
and that itself gave rise to a lot of controversy at the time [0.3] the fact 
that [0.2] so much talent and money in in the view of some was was as it were 
quote unquote wasted on [0.3] er [0.3] unimportant trivial [0.3] and immoral 
subjects [0.4] so [0.2] that [0.2] er [0.2] even in a French context where 
censorship was much less [0.4] er intent on questions of morals of sexual 
sexual depiction [0.4] and morality generally [0.3] er there were controversies 
about these films [0.2] er [0.6] the fact that the criminals of course are [0.
2] presented sym-, er with sympathy [0.2] er that that the spectator is is 
expected to identify wi-, with them you identify with Max [0.3] and his friends 
and you identify with Bob [0.3] and his friends in Bob le Flambeur er as you 
will see [0.4] er have [0.2] created controversy [0.4] and [0.8] er i know the 
the reason why the print of er Grisbi you saw this morning was incomplete er [0.
4] is that er was due to the British censor so the censorship was was worse on 
the British side of er as usual [0.3] er in in relations to morality and 
and and sexuality [0.4] and [0.2] the scene i will show you er [0.6] in a 
little while from gris-, er from Grisbi is the scene y-, that that's missing 
but there were [0.2] there are little bits [0.2] which are missing and which 
are no doubt due to to censorship [0.4] er [0.5] and [0.2] w-, [0.2] one point 
i would i would plant here in your mind is that [0.2] and and because i'll come 
back to it at the end of the lecture [0.4] is [0.2] er the fact that a star [0.
2] like Jean Gabin [0.5] er [0.4] er saw the renewal of his career in Grisbi [0.
4] er and shortly after this film in the late fifties and early sixties [0.4] 
two of the biggest new stars of French cinema [0.2] namely Jean-Paul Belmondo 
and Alain Delon [0.3] began their careers [0.2] also playing criminals or [0.3] 
er or policemen sometimes but or g-, b-, y-, very often gangsters [0.2] so that 
[0.2] there is as it were in the mid-fifties to the early sixties a rise in 
French cinema [0.3] of the male star as gangster [0.3] as a criminal or a 
delinquent [0.3] and and that's that's a very er interesting point and it 
contrasts quite sharply [0.2] with what happened [0.3] er before the 
war [0.3] and and [0.2] here you can make a direct comparison with Gabin 
because [0.2] although [0.4] in Pépé le Moko he played a gangster [0.4] er [0.
3] in in his other films he tended to play [0.3] er a worker [0.2] maybe a 
worker driven to crime but to er a h-, a an honest working class hero [0.3] and 
as we discussed even in Pépé he was [0.3] portraying a kind of er honest 
working class character even though he's a gangster [0.5] and [0.4] with [0.4] 
er when we move to the mid-fifties and early sixties we we see a change a very 
important change er in the way [0.4] er major male stars begin to [0.2] er be 
associated [0.3] primarily with figures of gangsters [0.3] er [0.7] and [0.5] 
the point i would make about the place of the films in the French film industry 
[0.3] er was that [0.3] they combined [0.3] popular [0.2] box office well they 
combined box office popularity [0.4] with [0.2] critical [0.3] er acclaim in 
many cases [0.4] and [0.2] i think that we can then see them as a very 
important transitional [0.4] er y-, [0.2] cycle if you like [0.3] between the 
tradition of quality [0.3] and [0.2] the new wave that's about to come [0.2] 
and it's interesting that [0.2] er 
most of these films certainly Grisbi [0.3] and and certainly Rififi [0.3] very 
much slot within the tradition of quality [0.4] in terms as i say of stars 
budgets sets et cetera [0.4] er [0.2] yet the subjects are not [0.4] typical 
quality subjects [0.4] and [0.3] er at the same time they are films which are 
approved of [0.2] by the n-, the future new wave directors as critics [0.3] and 
indeed [0.2] when the new wave directors begin to make movies [0.3] most of 
them [0.8] er start by making [0.2] er thrillers or films with delinquent 
characters and gangsters [0.2] so think of Godard and A Bout de Souffle [0.4] 
think of [0.4] Truffaut and Shoot the Pianist [0.3] er er es-, tho-, think of 
Chabrol [0.2] er virtually all most of the new wave directors [0.2] begin by 
making [0.3] er thrillers so i think [0.2] those films we're looking at this 
week are very important as a transitional point [0.3] between tradition of 
quality [0.4] and new wave [0.2] er another er person i haven't mentioned here 
is Louis Malle who made Lift to the Scaffold Ascenseur Pour l'Echafaud [0.4] in 
fifty-seven [0.2] whi-, which is a thriller [0.4] er [0.9] okay so [0.4] that 
that's i 
think the the the main point here about [0.2] how these films are placed within 
the film industry [0.3] and [0.4] although some of the critics raise objections 
as i said about the morality [0.2] of the films [0.2] in particular Georges er 
interestingly [0.4] er a critic on the left Georges Sadoul er who's a Communist 
critic [0.3] er raised objections to Grisbi [0.5] very much along the lines of 
[0.2] what a pity that Jacques Becker [0.2] with all his talent [0.2] is making 
a thriller [0.8] er [0.2] now [0.8] the next point i want to come to is er [0.
2] in a way the the the one of the most important points of about studying 
those films for us er at er in this course [0.4] is [0.2] the relationship 
between [0.4] er French national identity [0.2] and [0.2] American [0.4] 
cultural artefacts and cultura-, and American cinema [0.4] and how [0.3] that 
relationship [0.3] is played out in the thrillers [0.7] so [0.2] er [0.2] as 
you can see on your on your handout the first point i would make here [0.4] is 
to contrast in these films [0.3] and this is very much something i want us to 
discuss tomorrow in the seminar [0.5] er [0.3] er to look at the contrast 
or a-, at least the relationship [0.2] between [0.7] the iconography which one 
may say is a very much er a Hollywood iconography [0.4] of [0.4] the the 
gangsters [0.2] er [0.4] now Max and his friends in Grisbi don't wear trench 
coats but as you will see in Bob we do see trench coat [0.3] the hats [0.2] the 
guns [0.3] er the sharp suits and so on [0.2] er we have [0.3] er the 
iconography that Colin McArthur talks about in ho-, er [0.3] Underworld U-S-A 
is very much there [0.3] er the cigarettes the drinks [0.3] the well dressed 
people [0.3] jukeboxes [0.4] er jazz musicians [0.3] er a lot of [0.4] er 
artefacts and objects er that we associate or certainly at the time were 
associated with American culture [0.3] litter these films [0.2] so [0.2] the 
way the the characters dress [0.2] the [0.4] locations they inhabit [0.3] er [0.
2] think about the ubiquitous cabaret [0.4] er wh-, which you've just seen in 
in Rififi you've seen that in in in Grisbi you will see it in Bob le Flambeur 
[0.4] er [0.2] music the role of music and and et cetera [0.3] er very much 
connotes [0.3] an American iconography and an iconography which people then 
could relate directly to [0.2] 
American gangster films they could see [0.2] and they'd been seeing since the 
thirties [0.2] okay [0.7] however at the same time [0.5] er [0.2] it's 
certainly in Grisbi [0.2] and in er Bob le Flambeur [1.1] interestingly 
differently in Rififi and i hope tomorrow there'll be enough people who've seen 
Rififi so we can discuss that in in detail [0.5] er [0.3] at the same time as 
we have this American iconography [0.4] er [0.6] which is very pervasive [0.3] 
both visually and aurally [0.6] we also have [0.4] er a particular French type 
of mise en scène [0.3] which we [0.2] may recognize you may recognize already 
from films you've seen er in the last two weeks [0.3] er [0.3] a more [0.2] 
mundane er er type of er delivery if you like of the story [0.2] and more of an 
emphasis on [0.3] the quotidian [0.3] on [0.2] er the temps mort the sort of 
dead time [0.2] er a l-, a lot of the time when [0.4] it doesn't seem that very 
much is happening [0.4] er [0.2] i used a quote which is from Roland Barthes' 
er text on on your han-, on the back of the handout [0.3] which where he 
describes Grisbi [0.2] in one of his rare look at looks at er a f-, a film at a 
French film [0.3] as [0.2] the world of understatement [0.3] the sense that [0.
3] in the mise en scène in the way the characters er [0.2] move in the way 
they they behave er between each other and so on [0.3] er [0.2] there's a sense 
of understatement of minimalism [0.4] er we are not [0.2] we're not even in the 
world of the Eddie Constantine movie with a lot of movement and jumping about 
and so on and [0.3] knocking people on the on the on the head and so on [0.4] 
er we're certainly not in in the world of the American gangster film we're in a 
sort of very different world [0.3] a very hybrid world [0.3] er i would argue 
between [0.3] er the American gangster film [0.3] and [0.5] particular [0.2] 
traditions of French er quote unquote realist depictions [0.5] er and i would 
also use er [0.4] here i think as as very er [0.7] telling a quote by er 
François Truffaut [0.4] who who wrote in his review of Grisbi [0.5] what 
happens to the character is less important [0.5] important than how it happens 
[0.3] so what happens to the characters in Grisbi [0.2] is less important [0.2] 
than [0.2] how it happens [0.3] and 
therefore [0.3] one one has this kind of understated mise en scène [0.3] 
throughout the film [0.3] which [0.2] may seem actually surprising at as er at 
first indeed it's the first [0.2] French gangster film one sees [0.3] er [0.2] 
it seems that not very much is happening [0.5] li-, as in Pépé le Moko [0.4] 
the heist the main criminal activity has already taken place it's off screen [0.
2] it's already happened [0.3] we're in a kind of [0.3] er the world in which 
[0.2] they they're discussing and they're looking at the reactions [0.3] the 
are you all right [laugh] [0.4] the impact of of the crime [0.3] but not the 
crime itself [0.5] okay [0.3] and here comes the m-, the little bit from Grisbi 
which you did not see this morning thanks to the British censor of the fifties 
[0.5] [laughter] and [0.3] that is when er [0.2] Max takes his friend Riton to 
er [0.6] his new flat [0.5] you remember and they have this little scene which 
has become very famous actually er [0.4] er of [0.4] 
Max and Riton eating the pâté and drinking wine [0.3] while Max is explaining 
to his friend about er [0.8] er [0.2] where he's gone wrong basically [0.5] and 
[0.4] if you remember at the end of that scene he says right okay well we're 
tired let's go to bed now [0.4] and there's a cut to the scene in the bank 
where Max is taking the gold [0.3] er bullion to to give it to his uncle the 
fence yes remember [0.4] you're with me [0.3] okay [0.2] so this is what comes 
in between 
nf0069: oh [13.9] okay [3.8] we can st-, we can stop it there they just er [1.
3] we just see Max go [0.5] er [1.7] get up and [0.2] go to the bank [0.2] yeah 
[0.3] so [0.6] can you think of why this would have been [0.4] deleted from the 
print [4.5] [laugh] [0.9] no [2.5] any idea [1.3] 
sm0072: well 'cause i've never been candidate so er because [2.2] because [0.6] 
staying together and all that kind of [2.1] wouldn't say homosexual but [0.2] 
homoerotic sort of bonding between 
nf0069: mm [0.4] 
sm0072: kind of [0.3] [1.4] 
nf0069: yeah well i think that that's well that's 
apparently that was the reason that it was felt to be [0.4] slightly shocking 
those two men putting on their pyjamas and and [laughter] er [0.5] going to er 
[0.2] bed although they go s-, separate beds [0.4] er [0.4] and but [0.5] that 
the reason why i'm i'm i think it's well first of all it's important you see it 
so you've seen the complete movie [0.6] almost although there are l-, [0.4] odd 
little bits missing as well [0.5] er [0.8] is is really [0.3] er the fact that 
[0.4] it [0.4] the film can do without it in terms of narrative it is not 
particularly important in relation to [0.4] er the unfolding of of the story [0.
4] of Grisbi and in fact you can you can understand the film p-, perfectly well 
without it [0.4] er yet one one could argue i would argue that it's also it's a 
key scene [0.3] er [0.2] in [0.4] er in the film [0.4] in [0.3] emphasizing 
this mise en scène of [0.3] er of the everyday of the quotidian [0.3] these 
are [0.2] two [0.2] er and and of course er the-, these are two gangsters [0.2] 
er but what 
we see them is doing their teeth and putting on their pyjamas and [0.4] and er 
in a way which emphasizes er [0.3] their lack of glamour although they wear 
very nice pyjamas but but nevertheless they they're kind of [0.4] er just like 
middle-aged men going to bed and in fact [0.5] are musing over the a-, the 
issue of ageing [0.2] er and [0.2] Truffaut said in his review of the film [0.
3] er that apart from saying [0.2] what happens is less important than how it 
happens [0.2] and this scene demonstrates that it's not [0.2] what happens [0.
3] it's the how [0.3] it's it's the relationship [0.3] between these men which 
is the depicted purely in terms of everyday quotidian actions like [0.3] going 
to do your teeth [0.3] er [0.3] but Truffaut er also said that this is a film 
about ageing it's about about turning [0.3] fifty and so on and so forth and [0.
4] as you you've noticed what when you watched the film this morning it's got a 
lot of you know er remarks about [0.4] er [0.5] wanting to retire getting old 
being tired and so on and [0.3] when Riton looks at his the bags under his eyes 
you 
recall that it refers to an earlier conversation where [0.2] Max says you know 
look at yourself you know [0.2] you should you should retire you know you've 
had enough [0.4] er [0.7] so [0.3] that but but it it's it's very much [0.2] 
that that sort of that sense of muted everyday [0.4] action [0.3] which is at 
the centre of the film [0.4] and yet [0.2] this is a gangster movie this is a 
film about [0.3] gangsters and about criminals [0.2] er [0.2] so [0.2] it seems 
seems to me to [0.4] to [0.3] emph-, to really focus [0.3] on [0.2] that hybrid 
[0.2] between [0.2] a French style of mise en scène [0.3] and an American type 
of narrative and also iconography [1.0] okay [0.4] er [0.7] two other points 
about er the the Franco-American er relationship in the film [0.4] one is to do 
with the use of foreigners and foreignness in the films [0.4] er that [1.0] you 
will have noticed in Grisbi but this is true in Rififi and you will see that in 
Bob that [0.4] er all the poli-, the French policiers of that period very much 
emphasize [0.3] foreign characters er a-, among the French characters [0.3] now 
er there's of course the Eddie 
Constantine film where he's [0.2] clearly an American [0.3] but in in the the 
the more typical g-, French gangster films of the mid and late fifties [0.3] 
what we have is a lot of [0.4] Italians and a lot of Corsicans [0.2] now that 
[0.2] refers to [0.2] er there's there's the ref-, referential reality of [0.4] 
er the Corsican Mafia [0.2] which was an important part of the French 
underworld [0.3] er and [0.3] also [0.2] with the Italians [0.2] a kind of nod 
towards the American gangster film and references to the Italian er [0.3] and 
Sicilian Mafia [0.5] er [0.8] but [0.4] also [0.2] one might want to see thi-, 
this emphasis on foreign characters [0.3] er and and and look at how [0.4] er 
they er behave in relation to the French ones [0.4] er [0.2] as another er 
displaced image of the relationship between France and America in the films [0.
3] er [0.3] that [0.3] the [0.3] er [0.6] the contrast between the behaviour of 
the French characters [0.3] and the behaviour of the non-French characters [0.
2] is always to the advantage of the French ones [0.3] er [0.2] that the [0.3] 
non-French characters tend to be the one [0.2] who betray [0.2] who are weak [0.
3] er et cetera [0.2] so that [0.3] what what what 
what one has there i think [0.2] encapsulated is the way in which [0.3] the 
films play [0.5] very often on on a f-, on on one level [0.4] on [0.3] 
contrasting unfavourably the French characters they tend to be [0.3] less good-
looking er [0.4] less slim less athletic and so on [0.2] so on the surface [0.
2] there there's a kind of parody of of er [0.2] particular att-, er French 
attitude [0.2] yet at the same time [0.2] the narrative resolution usually 
gives them the upper hand [0.2] so [0.2] there's a kind of interesting er play 
there on [0.2] er national identity [0.4] er and as i say one can read it as as 
a displacement of [0.3] er Franco-American [0.2] relationship [0.9] er [0.6] 
and er w-, [0.3] as one goes towards the late fifties and the early sixties and 
we'll we'll see that er [0.6] when we look at er Alphaville and talk about the 
new wave [0.3] and the new wave attitude to the thriller [0.3] er [0.3] there 
there's there's a more overt er move towards imitating American characters er 
everybody knows about [0.4] Jean-Paul Belmondo in A Bout de Souffle imitating 
Bogart [0.3] there's a more [0.2] kind of self-conscious [0.3] er play [0.2] on 
on 
Frenchness and non-Frenchness [0.3] but in those mid-fifties gangster film [0.
3] it's the Italians and the Corsicans and also and [0.2] the kind of Latin 
characters or er [0.2] characters with [0.3] perhaps not to you but to French 
people [0.2] foreign sounding names like an-, Angelo for example [0.3] and so 
on [0.4] er [0.4] at the same time [0.2] note that [0.4] all the main 
characters in the film the French characters [0.2] have American sounding names 
[0.2] so [0.4] it's no accident that the heroes are called Max [0.3] Bob [0.7] 
Tony [0.4] right in Rififi [0.2] Tony le Stéphanois [0.4] er in in Grisbi we 
have Max le Menteur [0.4] and in er [0.7] Bob we have Bob le Flambeur le 
flambeur means the gambler [0.3] in in slang [0.3] so [0.2] that [0.2] 
sm0073: 
nf0069: as if you y-, [0.2] sorry [0.5] 
sm0073: i thought it was somebody with the name Flambé [laughter] [0.8] 
nf0069: well [0.9] well [0.3] flambé in slang means means er yes flambé means 
to burn but it's it means [0.2] in slang it means to play to gamble [0.3] er [0.
4] and er [1.0] the [0.6] you remember what i said about [0.3] Pépé 
le Moko [0.4] yes that [0.2] pep-, in Pépé you have the the very French name 
Pépé very French sounding [0.2] and le Moko [0.3] evoked [0.2] dark darkness 
[0.2] er [0.3] coffee strong coffee et cetera or the the exoticism of the 
character [0.7] now [0.2] think about that name and think of [0.2] Max le 
Menteur [0.5] Bob le Flambeur [0.6] Tony [0.3] er [0.3] er but especially Max 
and Bob [0.4] what we have there is a reversal [0.3] we have the character [0.
3] s-, now have an American sounding name [0.8] and [0.2] the name that's 
attached to it [0.3] is [0.5] as it were redresses the balance [0.2] to just 
show that they are [0.4] French after all so [0.3] Max le Menteur and Bob le 
Flambeur [0.2] yeah so there's an interesting play on on the hero's name [0.5] 
er and just a quick word er [0.2] er on the use of music [0.4] er in the films 
er and we'll come back to that er tomorrow in our discussion [0.4] but [0.3] 
the policiers er of the mid-fifties the gangster films of the mid-fifties [0.5] 
er herald the arrival of jazz music in mainstream French cinema [0.3] now of 
course in [0.3] French cinema in general in French culture [0.4] jazz [0.4] had 
arrived in in the nineteen-twenties 
in the wake of the First World War [0.4] and [0.3] was very popular but 
especially popular with an intellectual elite [0.5] er and and that that that's 
quite clear [0.3] er there's an enormous enthusiasm for jazz in France er [0.4] 
but [0.3] i-, restricted to a certain artistic intellectual milieu [0.8] er 
what the policiers and er in the same way if you like as the [0.2] er Serie 
Noire literature [0.8] er broadens the audience for American literature [0.3] 
to a very wide French [0.5] public reading readership [0.6] in the same way the 
films [0.4] broaden the audience [0.2] of jazz music [0.4] to a very wide 
French er er [0.3] set of viewers [0.5] and [0.3] er what what is very 
interesting to trace through the films is [0.3] the er the way in which [0.2] 
well the the [0.2] the part the music plays [0.7] and that's what i want to 
discuss with you tomorrow as well is [0.3] look at [0.3] how that jazz music 
plays [0.3] but [0.2] note that what the films do [0.2] and that's why they 
were successful in in in a way broadcasting [0.2] the jazz to to a wide 
audience [0.3] was to [0.2] propose there again a kind of hybrid [0.4] which if 
you like you could call French jazz [0.3] that [0.2] what 
what you have is music that is [0.4] clearly influenced by jazz music by 
American jazz music [0.4] but [0.3] is [0.2] very often composed by French 
composers [0.3] er and er the [0.6] and [0.2] the what we can measure the 
success they had [0.3] by the fact that [0.3] the the theme tune in both Grisbi 
and Rififi [0.3] became er big hits in in the mid-fifties and [0.4] er this is 
the sheet music for Grisbi [0.3] er er and [0.4] apparently [0.2] the film 
started a mini craze for harmonica [0.3] er music er at at the time er [0.4] 
thanks to the success of the er of the theme tune [0.4] Grisbi which you 
remember is Max's tune [0.3] the f-, one of the first things he says is [0.3] 
i'm going to put my tune on er [0.3] yeah [0.2] remember [0.5] er [0.8] and 
think about when you see Bob er er in a in a little while [0.4] think about the 
the role that that music plays er [0.4] in [0.2] setting that hybrid mood 
between [0.2] Frenchness and Americanness er aurally in a s-, and and how that 
interacts with [0.3] the way [0.3] the mise en scène and the narrative work [0.
2] er [0.2] visually [0.8] so er [1.1] and the the l-, 
i want to [0.3] finish [0.2] er with [0.2] er the last point on the [0.2] on 
your er [0.3] handout [0.4] which is [0.3] er to to [0.3] offer two [0.5] er 
not contrasting but [0.3] interlocking [0.5] symptomatic readings of these 
films er many people have thought about [0.2] the success of those American 
gangster films er er sorry French gangster films of the mid-fifties [0.5] er 
and [0.8] er sought to understand [0.2] their popularity and why [0.4] at that 
particular moment in time [0.4] er [0.3] given that there had been [0.2] crime 
films before there had been gangster films before you know about Pépé le Moko 
you've seen Quai des Orfèvres and so on [0.4] why it was at that moment in the 
mid-fifties [0.3] that [0.3] er this particular cycle of Grisbi [0.2] Rififi 
Bob and and a few others you've got on the sheet [0.2] why these [0.4] at that 
particular moment these [0.2] worked so well and were so successful and and 
started [0.3] er what what what became in fact [0.4] er the second major genre 
of French cinema after comedy [0.7] er [0.2] so two possible [0.5] er readings 
i will highlight now and [0.2] er for you to think about while you watch Bob [0.
9] one is to do with [0.2] er the 
argument you've heard last week in relation to Quai des Orfèvres er to some 
extent is [0.4] that one could read these films as a displacement [0.7] er of 
[0.5] issues to do with the war and the German occupation of France [0.7] er 
this is the a reading proposed by people like Robin Buss er [0.4] Jean-Pierre 
Melville himself when he talks about Bob le Flambeur [0.2] very much proposes 
this particular reading [0.2] of [0.3] er Bob le Flambeur and and his other 
gangster film [1.4] as films which are in in effect talking about [0.2] the 
German occupation about the resistance about the war in France [0.4] and [0.2] 
w-, one could read them as [0.4] er a nostalgic [0.2] revisiting of [0.3] the 
war [0.4] and [0.2] also a nostalgic hankering after the prewar period [0.9] er 
[0.5] this is something which i-, incidentally is very explicit in a a British 
film which i i've put on your related viewing list called League of Gentlemen 
[0.3] er it's a very different film er but [0.4] er there the r-, the er 
nostalgia for the war is incredibly explicit [1.0] here i would just say two 
things er that 
w-, might help us understand er or at least [0.2] er see whether one can back 
up this particular reading of a film [0.4] one would be [0.2] the emphasis on 
old men on men on the edge of retirement men who've [0.3] who've had enough 
who've seen all the battles [0.2] who've been through it all [0.2] and what one 
could read that as men who've been [0.2] through the war [0.3] er and so on [0.
5] but also [0.2] who are [0.3] there's constant emphasis in in in those films 
about [0.4] how [0.3] er the the underground world is not what it used to be [0.
2] that it was better before that there was a real code of honour among among 
the the gangsters [0.2] and you know that Grisbi in English is called Honour 
Among Thieves [0.3] er [0.9] and [0.4] er the other thing is that [0.3] there 
are moments in those films where the iconography [0.5] e-, evokes [0.3] er the 
resistance evokes er i mean there are scenes in cellars [0.4] er evokes 
literally underground activities er with the er the resi-, to do with the 
resistance [0.3] er [0.2] there are characters [0.4] tortured [0.2] or [0.4] 
whom we see in a position er tied up as if they were about to be tortured 
or had been tortured [0.4] and [0.2] and the-, these evoke very very [0.2] sort 
of strong images of [0.5] the resistance er and resistance [0.2] l-, er linked 
activities [0.3] okay so that's one [0.4] type of reading [0.2] and and there's 
a lot of course these films are [0.3] totally to do with [0.4] honour [0.3] 
loyalty and betrayal [0.2] and of course loyalty and betrayal are are are kind 
of values which one c-, one can associate with what happened [0.3] in the 
underground resistance against the the German ge-, in the during the German 
occupation [0.8] er okay so that that's one way so it would be a symptomatic 
displaced reading [0.5] the second one is [0.2] which is proposed by people 
like Jill Forbes er [0.6] and and er and a couple of others [0.5] is to read 
these films as a mirror quote unquote [0.3] of contemporary French society [0.
6] a society which was [0.5] er [0.4] moving towards [0.3] modernity [0.3] 
which was being [0.2] quote unquote Americanized [0.2] er in in terms of [0.2] 
er consumer goods [0.2] in terms of of culture [0.5] er [0.2] and [0.3] a 
culture [0.3] of consumption [0.4] that [0.3] er France in the nineteen-fifties 
is [0.3] er [0.3] moving out of of of the post-war [0.4] 
er recession and and is is a country being rebuilt [0.4] we're on almost we're 
three years away from General de Gaulle's Fifth Republic [0.5] and [0.2] and 
the real modernization of France [0.3] it's the beginning of what er historians 
called [0.6] call er les trentes glorieuses [0.8] which er means [2.2] er [0.2] 
lit-, means literally the three the thirty glorious years [0.4] meaning [0.2] 
the forties er er well [0.2] from the mid-forties to the mid er to the late 
sixties and and seventies the thirty years [0.3] of [0.4] economic boom [0.3] 
and the rise of the consumer society [0.9] er [0.4] France in the fifties then 
is is beginning to be in the grips of [0.3] consumer society [0.4] er of [0.4] 
er increased wealth of economic boom [0.3] and [0.3] one could read then the 
gangsters as [0.2] being about [0.4] er [0.6] a community which used to be [0.
2] the working class community of the thirties poetic realist films [0.5] er [0.
4] of community of workers of producers [0.2] who've become a community [0.2] 
of consumers [0.7] and [0.2] consumers who are [0.2] motivated by individual [0.
3] er gain and er and greed [0.3] and 
so if you like [0.2] one can then read the gangsters as symptomatic [0.5] of [0.
3] French society at large er and it's er [0.7] er desire [0.3] for [0.2] 
consumption [0.4] er think about how the films are littered with images of 
conspicuous consumption [0.3] of wealth [0.3] of high living living of [0.3] er 
er people drinking champagne or whisky in cabarets and er [0.3] driving [0.2] 
huge cars [0.4] sometimes American cars [0.3] and [0.3] kind of desiring [0.2] 
the objects which are er [0.3] in for the French linked then to modernity [0.4] 
and in the f-, in the context of France in the fifties [0.2] that means to 
America [0.3] so [0.2] that [0.2] the and the g-, the we see the gangsters if 
you like in the grips of [0.3] desire for [0.3] a trilogy [0.2] which the trilo-
, the the which the the gangster film [0.4] er very much focused on which is of 
money [0.4] er [0.7] consumer goods [0.3] and women [0.3] er and g-, and among 
those consumer goods [0.2] cars figure very importantly [0.5] so that [0.8] and 
think about the way the gangsters are now [0.3] very much seen as professionals 
[0.3] as organized it's we're we're moving towards [0.2] the idea of organized 
crime as the bi-, as a business [0.4] er [0.4] 
and that in the context of France in the fifties [0.3] er the idea of organized 
business would again [0.3] connote America [0.4] er rather than than France [0.
4] er [0.2] one of the key [0.2] novels of France in the sixties was a novel 
called [0.4] Les Choses [0.9] er [0.4] which means [0.6] er [0.7] things [0.3] 
by Georges Perec [0.6] er [0.8] and er it was [0.3] it was published in sixty-
three [0.2] but it's very much about French society in the fifties and early 
sixties [0.4] er [0.3] er it's a sort of parody of a young couple [0.4] totally 
whose life is totally dominated by [0.5] things [0.3] goods objects [0.2] 
objects that they desire [0.3] and [0.9] then one can read the gangsters as [0.
3] er a figuration if you like of [0.3] that desire for for objects for things 
[0.3] er [0.3] for er capital er for er for gain and and consumer goods [0.5] 
and and again i go and here i would go back [0.2] just to finish to the point i 
made about [0.3] the new stars [0.3] of French cinema [0.4] er the renewal of 
Gabin's er [0.8] er stardom [0.4] and the the the new 
stardom of Jean-Paul Belmondo and Alain Delon [0.4] as [0.2] perhaps [0.2] an 
image of that [0.2] er mirroring of French society [0.5] okay now we can 
discuss tomorrow whether you agree [0.3] with er one of those two readings or 
or you think both can be read er [0.3] concurrently [0.4] er and er [1.1] we 
will i will just my last word would be [0.3] to say that [0.3] er the [0.4] 
figuring of the this hybrid culture between France and America [0.5] is for you 
[0.4] to to bear that in mind [0.3] and sort of carry it through the course and 
[0.3] see [0.2] how when we arrive to a film like Lion [0.5] that hybridization 
of French and cul-, and American culture [0.4] is so different [0.4] and [0.2] 
whereas [0.2] here we have a utopia [0.3] of American goods [0.2] when we come 
to Lion we have a complete dystopia [0.4] of of what [0.2] American culture 
means [0.3] so [0.3] i'll just er finish on end on this i'm sorry we're [0.2] 
just a few minutes late but we did start late [0.5] er so we'll have er [0.4] a 
mini break now and we'll start the [0.4] er [0.3] the video of Bob le Flambeur 
[0.4] okay [0.3] remember there isn't a print so that's why you're seeing [0.6] 
the tape [1.1] okay