curiosamente nel titolo c’è Manhattan, come in“Deux hommes dans Manhattan”, di JP Melville, di qualche anno prima, trasferta a New York.
il film di Carné (a differenza del film di Melville) non è indimenticabile, come non lo è, per i miei gusti, il romanzo di Simenon da cui è tratto il film.
senza infamia e senza lode - Ismaele
…Il bianco e nero esalta le notti di Manhattan, il girovagare dei due esseri soli ed angosciati, il loro senso di estraneità alla vita della metropoli americana. I dialoghi sono però piuttosti scontati, Ronet è bello ed impassibile, il finale prevedibile.
Marcel Carné ,who was once one of the finest directors France had ever had ("les enfants du paradis",to name but one)was having a bad time during the sixties.He was ceaselessly criticized by the new wave.Instead of filming in his own and brilliant way,he tried to ape his persecutors."Les tricheurs" was his first attempt in that direction and it wasn't bad.But "trois chambres à Manhattan " hit rock bottom.A vague Simenon adapted screenplay ,a dirty cinematography,two prestigious actors and he might think the job was done.But he tried so hard to sound like the big boys of the new wave pack that he became some kind of caricature of it.Maurice Ronet tried here to do a second "feu follet" (Louis Malle) and his relationship with Girardot was so uninteresting that weren't it for the actors one would give up after fifteen minutes.Most of the time,it's an endless dialogue between the two leads who get the lion's share on the screen.Genevieve Page,for instance ,is hardly given five minutes in the prologue. The same goes for Roland Lesaffre's implausible pilot.da qui