The style is poetic realism, but viewers will be forgiven for confusing it with film noir, which followed a few years later in America. The "realism" can be hard to spot amid the clouds of man-made fog, street sets built in forced perspective, and heavily stylized exteriors; the word here refers less to the look of the film than to the fact that its characters were criminals and its "heroes" of dubious moral standing. (Contrast the outsiders of Port of Shadows with screen contemporaries such as, say, Astaire and Rogers, done in up in evening wear, dancing the night away at a glittering Art Deco nightclub, and the difference becomes clear.) The "poetry" figures into both the exquisitely evocative feel of the film and its writer's and director's conviction that even ordinary lives - that of their deserter hero, his licentious young love, a suicidal artist - sometimes traffic, however transiently, in the sublime.
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