In the field of French suspense thrillers , Frederic Dard was only second to Boileau/Narcejac in the fifties : both "le monte-charge" and "toi,le venin" should be considered classics of the genre .Unlike his colleagues, he did direct his own movie and it was his only attempt at a film based one of his books.

I have not read the book ,but the screenplay looks like a play, for there are few characters and the action almost entirely takes place in Jacques 's luxury apartment .

"Une gueule comme la mienne "(= a mug like mine) aka "rendez-vous " aka " Gestapo VS X" is an estimable movie : the historic context is not very convincing but Dard wanted to focus on psychological suspense ; the principals ,which is rare,kept their first names :Paul, Claire and Jacques.

Paul Guers who was already a resistant fighter in Duvivier's highly superior "Marie-Octobre " (which was also a drama in camera), is the handsome smug rebel ( but his stand against the occupant is not very convincing) ;Claire Maurier is the femme fatale; the best is Jacques Duby ,par excellence the coward , the wash out ,the loser of the era (see also " Thérèse Raquin").

Although a beginner in the movie direction field, Dard shows his usual flair for film noir:the opening is a good example of subjective camera:the POV shot is ideal to depict the last moment of condemned person about to be executed; the scene in the cinema, for its simplicity, gives goose pimples ; the small coffin (this gift from the resistants was historically accurate ) and the death of the collaborator in his garage are effective .And that collaborator ,a failed journalist , found an opportunity to shine in the occupation days ; and probably not as dumb as he appears for his "reworkings " of Paul's articles make the headlines:besides ,the intruder is quite naive:how could he believe his patriotic articles would be published in a newspaper which had sold itself to the Nazis ?

But the screenplay is gripping , forget history and you have a decent thriller.

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

Jean-Pierre Léaud in The 400 Blows (1959)

The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The thriller genre features suspense, tension, and excitement. These stories are known for keeping audiences on the edge of their seats and delivering intense emotional experiences by revolving around high-stakes situations, dangerous conflicts, and the constant anticipation of unexpected events.

In occupied France and under threat of the Gestapo a man and his mistress are caught in a game of blackmail, lies and death from which they don't come out unscathed.

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