YEAR FIVE OF FRENCH NOIR AT THE ROXIE NOVEMBER 15!

The through-line is emerging strongly in Don Malcolm's one-man crusade to rewrite film history via the rediscovery of the "lost continent" of French film noir. It will reveal itself fully at San Francisco's Roxie Theatre with 20 films from 1949-1959, beginning on Thursday, November 15.

After using his first four series to build a timeframe around the "lost continent" (1931-1966), Don zeroes in on the 1950s in THE FRENCH HAD A NAME FOR IT 5. The 20 films fill in the territory in astonishing ways, showing the eclectic range of subject matter that permeated French filmmaking in that decade. The full schedule is below, but here are some key highlights:

► Six films focused around the tragic career arc of Henri Vidal (1919-1959), "a matinée idol desperately in search of a meaningful career as a leading man." As we get closer to Vidal's untimely end, we can see the psychological effects manifest themselves in his appearance. A Saturday night triple bill reveals his promise, while the other films scattered through the program shows how the promise was broken.

► Tribute nights for noir icons masquerading as superstars: first, Jeanne Moreau (Friday, November 16) in two more of the 1950s noirs that were her proving ground as a name above the title—including the star-studded, spooky THE SHE-WOLVES; then, Jean Gabin (Tuesday, November 20) showing his incredible range in two diametrically different 50s films—both not seen in America for more than half a century!

► Rare gems featuring big names: Simone Signoret (THE ADULTRESS); Danielle Darrieux (MARIE-OCTOBRE); Arletty (NO EXIT); Marina Vlady and Robert Hossein (DOUBLE AGENTS); Serge Reggiani and Anouk Aimée (THE LOVERS OF VERONA); Viviane Romance (MAYA).

► Tributes to great but underappreciated directors: three diverse and dynamic films from Julien Duvivier, including the genre-smashing HOLIDAY FOR HENRIETTA; two films from long-exiled 30s pioneer Pierre Chenal (THE BEAST AT BAY, SINNERS OF PARIS) that reveal him as a potent purveyor of late 50s "pulp noir Français."

The depth and range of French noir in the 50s is on display in FRENCH 5; one measure of this, as Don notes, is the number of directors in the series. "We are beyond the familiar, accepted names: we have no Becker, no Clouzot, no Melville here. No RIFIFI. We have 17 different directors, most of whom are as unjustly obscure as their films. That's about to change!" Come see for yourself why this is the biggest and best FRENCH HAD A NAME FOR IT yet—and why the festival's subtitle—"the frenetic 50s"—is anything but hype.

TICKETS & PASSES ON SALE

Tickets can be purchased directly by clicking the ticket links on the program pages, or at the Roxie site.

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