Both the most daring of films and the humblest. It may look like a scarecrow, but its logic is foolproof, because it is the film of a free man in the same way as Chaplin's A King in New York. Moi, un Noir is a free Frenchman freely taking a free look at a free world. It is, therefore, a film which is certainly not produced by Raoul Lévy. The director of the admirable Jaguar does not track down truth because it is scandalous but because it is amusing, tragic, graceful, eccentric, what you will.
Driven by the tenor and urgency of Ganda's post-synced voiceover, and set within a quilt of postproduction sound effects and music, the movie stands as one of the most remarkable feats of cinematic invention and portraits of subjectivity in the '50s.