Can't remember who wrote what in this thread, but the film
Tirez sur le Pianiste
(hope I'm remembering spelling) was released as Shoot the
Piano Player in the States and Shoot the Pianiste in the UK,
according to my (UK) reference. The title reverses the "Don't
Shoot the Piano Player..." that was supposed to be common in
Western saloons, but most famously observed, I believe, by
Oscar Wilde during his lecture tour in the 1880s. I saw it a
few weeks ago, and there's no Ne or "Don't" in the
titles.
The reverse of the common saying, I've always supposed, was a
deliberate noir touch, but also in keeping with the many
allusions in the film to things American, including noir
movies. Although Hollywood tried a remake of one New Wave
noir homage, Breathless, it would be much harder for Shoot
the Piano Player, since it was itself parodic in places, with
gangsters who talk about their latest mail order gadgets (an
air-conditioned hat) and shoot repeatedly without ever having
to reload. Of course the pianist doesn't die, just the girl,
which is, ironically, quite appropriate to the original
genre.
As to its obscurity, it was and is revived regularly; it's
"known" by film students and film studies folks. It, The 400
Blows, Jules and Jim, and possibly Day for Night, are
enshrined in textbooks--basic introductions to film for
undergraduates. In interviews with contemporary American film
makers, Truffaut is probably mentioned more than Goddard as
an influence. Many of today's film makers first saw the
possibilities of film through the New Wave directors, who
were themselves influenced by the noir of Old Hollywood.
What's really interesting is to see something later, like
Diva, or (better) The American Friend (adapted from a
Highsmith Ripley), which seem "aware" of both the original
noir and the New Wave variations on noir.
Bill Hagen
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