Radiance Films continues to search the dark alleyways of global cinema archives to find film noir titles to rival those made in Hollywood. Their latest collection, World Noir Vol. 4 focuses on French films and contains the following titles:
– Chnouf
– Back to the Wall
– Paris Pick-Up
Chnouf (a.k.a. Razzia sur la chnouf or Razzia)
Director: Henri Decoin
Screenplay: Maurice Griffe, Henri Decoin
Based on a Novel by: Auguste Le Breton
Starring: Jean Gabin, Lino Ventura, Magali Noël, Marcel Dalio
Country: France
Running Time: 105 min
Year: 1955
To quote the Chnouf synopsis from the Radiance site – “Henri (Jean Gabin, Touchez pas au grisbi) is brought in following a successful stint in the US to head up operations by gang boss Lisky (Marcel Dalio). Tasked with increasing sales and reforming the drugs distribution network, he unpicks every aspect of the business, but pushers don’t want to change, and the cops are on his tail.”
Based on a novel by Rififi author Auguste Le Breton, Chnouf takes a procedural approach to its subject matter, delving into the grimy underworld of Paris in the 1950s. You get to see how the raw materials are delivered for the drugs trade, how these are then processed and eventually how the drugs are sold. You might shrug at that now, with everything we’ve seen in films and TV over the years, but, back then, this would have been quite eye-opening.
On top of the detailed depiction of the drug trade, the film would likely have also turned heads at the time with a raunchy interracial dance sequence, as well as a scene in a gay club. There’s some brutal violence too, with a couple of scenes still having the power to make you wince.
Whilst the depiction of this darker side of Paris is frank for its time, some concessions still had to be made. Reportedly, shots of injecting drugs were cut out from the film, and some other sequences were trimmed down. The film was cut further on release in the UK too, and wasn’t originally passed for release in the US (though it did get granted a certificate a couple of years later).
Perhaps most notably, the French censors (and likely most of the other countries’ censors) had to be appeased when it came to the ending of such a film. Without wanting to give too much away (skip to the next paragraph if you’re worried), there’s a twist that’s rather hard to swallow and dampens an otherwise gritty, uncompromising film.
Another slight issue I had with the film was that, in taking such a procedural approach, there isn’t much of a driving narrative. Instead, we just watch as Henri manages his operation. As such, I found the film a little slow.
However, it has some nice stylistic flourishes (such as some early whip-pan transitions), atmospheric cinematography and boasts some excellent performances. Jean Gabin is as reliable as ever, and Lino Ventura stands out in an early tough guy role.
So, whilst it meanders at times, Chnouf is a moody, slickly produced but tough and gritty look at the drugs trade in 1950s Paris.
Film: 
Back to the Wall (a.k.a. Le Dos au mur)
Director: Édouard Molinaro
Screenplay: Frédéric Dard, François Chavane, Jean Redon, Jean-Louis Roncoroni
Based on a Novel by: Frédéric Dard
Starring: Gérard Oury, Jeanne Moreau, Philippe Nicaud,
Claire Maurier, Gérard Buhr
Country: France
Running Time: 95 min
Year: 1958
Again, taking the synopsis from Radiance for Back to the Wall – “Jacques (Gérard Oury), a rich industrialist, sneaks around an apartment where he bundles up and disposes of a dead body. His troubles started three months ago, when his wife, Gloria (Jeanne Moreau), was having an affair… To get his revenge, he sends Gloria anonymous letters in a scheme to turn her against her lover, a scheme that leads to murder.”
Back to the Wall was the feature film debut of director Édouard Molinaro, who became better known in France as a director of comedies. Most notably, he wrote and directed La Cage aux Folles (later remade in the US as The Birdcage).
This is particularly surprising, given how dark Back to the Wall is. This is ‘proper’ noir. Most of the story is told from the perspective of the cold, calculating Jacques. Yes, his wife was having an affair, but that doesn’t excuse the cruel way he tries to get his revenge.
The story isn’t entirely original. We’ve seen plenty of films revolving around jealous husbands wanting to get back at their adulterous spouses, and vice versa. However, the plotting is clever enough to keep us hooked, and Molinaro uses every cinematic trick at his disposal to craft an impressive debut film.
These clever touches aren’t just for the sake of it either. Molinaro uses these to build atmosphere and tension. There’s some great use of sound design and editing too. I particularly liked some of the match cuts used. There’s a fantastic one that takes us from the lengthy opening sequence to the ensuing flashback. We ripple dissolve from a mid-shot of Jacques driving his car, looking dirty and spent after disposing of a body, to a perfectly matched shot of him driving a couple of months earlier, looking fresh-faced and happy.
Overall, Back to the Wall is a deliciously dark and stylish noir that makes the most out of a classic formula.
Film:
Paris Pick-Up (a.k.a. Le monte‑charge)
Director: Marcel Bluwal
Screenplay: Marcel Bluwal, Frédéric Dard
Based on a Novel by: Frédéric Dard
Starring: Robert Hossein, Léa Massari, Robert Dalban, Maurice Biraud, Pascale Brouillard
Country: France / Italy
Running Time: 90 min
Year: 1962
From Radiance about Paris Pick-Up – “Recently released ex-convict Robert Herbin (Robert Hossein, Rififi) meets Marthe (Lea Massari, L’Avventura), a beautiful Italian woman and her daughter. They share some flirtatious glances and then she invites him back to her home, where they discover her husband’s dead body. Unable to bear witness to a crime due to his parole, Robert flees. Guilty about her situation, Robert stays close by, where he discovers the body has inexplicably disappeared.”
Paris Pick-Up was based on a novel by the hugely popular crime author Frédéric Dard. Lead actor Robert Hossein was a friend of the author and had already directed and starred in an adaptation of one of his plays. Hossein would go on to collaborate with Dard on a number of projects, following Paris Pick-Up.
The whole World Noir Vol. 4 set is fantastic, but Paris Pick-Up was my favourite film of the collection. It has an elegant air of melancholy and desperation that helps it transcend its pulpy genre roots. It begins in a particularly understated fashion too, slowly developing the burgeoning relationship between Robert and Marthe, before a twist, about half an hour in, turns things on their head.
Throughout the quiet, gentle opening section, enough strange details and unspoken tensions remain to keep you intrigued. Then, when the pace builds later on and the plot twists develop, you’re hooked.
It was director Marcel Bluwal’s cinematic debut, after working in TV prior to this. He said he wanted to make a near-silent film, in comparison to most of the films made at the time. There is dialogue, but never just for the sake of it. Much is done through glances and cleverly devised visuals. Bluwal isn’t just avoiding dialogue for the sake of it though. It works in controlling the pace and tension. Later on, for instance, when another man enters into the equation, following an incident at midnight mass (the film is set on Christmas Eve), he is markedly more talkative than Robert and Marthe. This markedly disrupts the tone, mirroring the disruption the character is causing for Robert, who’s desperately trying to get a handle on the situation he’s been plunged into.
Visually, the film is impressive too. Whilst it has a sense of naturalism common to films of its era (the New Wave had properly kicked off by this point), it retains a seductive, moody atmosphere common to film noir.
Overall, Paris Pick-Up is an unusual and remarkable example of French film noir. It’s low-key and melancholic, yet endlessly gripping and littered with powerful moments.
Film: 
World Noir Vol. 4 is out on 15th September on region B Blu-Ray, released by Radiance Films. The transfers are fantastic. The earliest two films in the set look particularly good, with pin-sharp details and lovely, rich tones. Paris Pick-Up looks slightly softer, perhaps due to the stock used or the available print, but it still has wonderful inky blacks without losing details in the mid and higher ranges. I’ve used screengrabs throughout this review to give you an idea of how the films look, though these have been compressed. The audio is strong for films of this age too.
BLU-RAY LIMITED EDITION BOX SET SPECIAL FEATURES:
– 2K restorations for each film by Gaumont
– Original uncompressed mono PCM audio for all films
– Newly improved optional English subtitles for all films
– Newly designed artwork based on original posters
– Limited edition 80-page perfect bound book featuring archival pieces and new writing by critics and experts, including Imogen Sara Smith, Farran Nehme and Jake Cole.
– Limited Edition of 3,000 copies presented in a rigid box with full-height Scanavo cases for each film and removable OBI strip, leaving packaging free of certificates and markings
CHNOUF
– Audio commentary by Nick Pinkerton (2019)
– Archival interview with Henri Decoin on Jean Gabin (1960, 4 mins)
– A Violent, Implacable, Hitherto Unknown Underworld – new visual essay on Chnouf and drugs in film noir by Frank Krutnik (2025, 27 mins)
– Trailer
BACK TO THE WALL
– New audio commentary by Daniel Kremer (2025)
– Archival retrospective interview with Édouard Molinaro (2011, 23 mins)
– Trailer
PARIS PICK-UP
– New audio commentary by Tim Lucas (2025)
– Archival interview with director Marcel Bluwal (2015, 25 mins)
– Archival behind-the-scenes report on Paris Pick-Up (1962, 4 mins)
– Archival interview with actor Robert Hossein and writer Frédéric Dard (1963, 14 mins)
– Inspector Leclerc Investigates: The Grey Jackets – TV crime serial directed by Marcel Bluwal (1962, 26 mins)
There are commentaries on all three films. Nick Pinkerton talks over Chnouf. He digs deep into the backgrounds of those involved in making the film. Later on, he also dissects the film itself. I got a lot out of this track.
Daniel Kremer provides a commentary for Back to the Wall. He analyses the techniques of director Édouard Molinaro, as well as delving a little into the backgrounds of other members of the cast and crew.
Paris Pick-Up has a commentary by Tim Lucas. He compares the film with the source novel, offers a fair amount of analysis, and also provides some background on the filmmakers. It’s a well-rounded, rich track that’s well worth a listen.
Frank Krutnik provides a video essay on the Chnouf disc. In it, he begins by talking about French noir in general before discussing where the film itself sits among the genre. It’s a valuable piece.
There’s also a 23-minute TV interview with Molinaro on the Back to the Wall disc. The director talks about his life and work in general. Whilst delivered quite straight, it’s enjoyably gossipy, discussing the various projects where he fell out with the leads and where things didn’t go to plan.
There’s a 24-minute interview with Bluwal on Paris Pick-Up. He begins by talking about how he got started as a filmmaker, providing a frank and fascinating look at the New Wave and where he fit within this. Then he talks in detail about making Paris Pick-Up. It’s an excellent interview.
There’s also a short behind-the-scenes film about Paris Pick-Up. This is surprisingly light-hearted. It doesn’t offer a great deal due to its brevity and approach, but it’s nice to catch a glimpse of the production in action.
‘Robert Hossein: Six Hommes en Question’ is an interview about a play based on a script by Dard. It ends with a short extract of the play performed for the cameras. This is an interesting piece.
‘Inspector Leclerc Investigates: The Grey Jackets’ is a full episode of a detective series directed by Bluwal. I love extras like these, as you get to see another side of a filmmaker, and the shows are often entertaining. This example is a decent crime thriller with a compelling story and solid direction.
I didn’t receive a copy of the booklet to comment on that.
It’s another superb set from Radiance. It’s a pleasure to discover these dark gems, and the discs are filled with valuable supplemental material. I can’t recommend these ‘World Noir’ sets enough.
Disc/package: