
A Daring Daylight Burglary
1903

1942
Director
Jean Delannoy
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
Having pulled off a robbery with his friend Maurice, Olivier leaves his mistress Lola and hides out in a small village in the country. He finds work, thanks to a young man named Gilbert, who introduces him to his sister, Monique. Once the robbery has been all but forgotten, Olivier intends to head back to Paris, but before he goes, he steals money from his employer. In Paris, Olivier wants to say a proper goodbye to Lola, but she is being blackmailed by Jérôme, an antique dealer who has recognized a necklace stolen by Olivier. Before returning to Monique, Olivier calls on Jérôme to recover the necklace.
Overall Score
Minimal
Category Breakdown
LGBTQ+ Representation
The film focuses entirely on heteronormative romantic entanglements. There are no depictions of non-cisnormative identities or narratives that challenge traditional social structures.
Gender Representation
Female characters like Lola and Monique are central to the plot but primarily serve as catalysts for the male protagonist. While Lola shows some agency through blackmail, she remains tethered to male-driven conflicts.
Racial & Ethnic Diversity
The cast appears homogeneous, reflecting a standard Eurocentric depiction typical of 1942 French provincial productions. There is no evidence of diverse ethnic casting.
Religious & Cultural Diversity
The narrative explores individualistic morality and personal failings rather than systemic critiques. It does not prioritize secularism or offer a critique of traditional social institutions.
Disability Representation
There is no evidence of characters with visible or invisible disabilities. Disability is not utilized as a narrative device within this psychological thriller.
Strengths
Areas for Improvement
AI Analysis
L'assassin a peur la nuit is a period-specific crime drama that prioritizes psychological tension and individualist struggle over diverse representation. The narrative architecture relies heavily on established genre tropes of suspicion and theft. The film adheres strictly to the social and demographic norms of 1940s French cinema. It lacks the intentionality needed to disrupt conventional hierarchies or provide nuanced depictions of marginalized identities. Ultimately, the story functions as a study of paranoia and criminal impulse, focusing on the protagonist's personal choices rather than broader systemic or intersectional themes.

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