A typical post-war psychological B noir, cheaply shot, a bit bloody and very much reliant upon a dark and complicated script. But that script is notably inventive, with the intelligent and egotistical Radek leading the satellite characters around in circles. Interestingly, it's his understanding of his victims' psychology (by and large male lust and fear of emasculation) that makes them do his work for him. It's of note that Radek is explained as a manic depressive, maybe one of the earlier filmic references to the disease, which is used to put the film's psychology and imagery into perspective.
On the poster, it lists the "city of Paris" as one of the stars. With the dizzying shots of the Tower, the crisscrossing roof tops, the tall bridges, the film comes across as true to it's European roots--in fact aesthetically closer to Berlin: Symphony of a City or Man with a Movie Camera in some parts as it is to Double Indemnity. There is no typical trapped, insular and indoor psychological landscape in The Man on the Eiffel Tower, but an expansive and modern one reminiscent of the formalists.
On the poster, it lists the "city of Paris" as one of the stars. With the dizzying shots of the Tower, the crisscrossing roof tops, the tall bridges, the film comes across as true to it's European roots--in fact aesthetically closer to Berlin: Symphony of a City or Man with a Movie Camera in some parts as it is to Double Indemnity. There is no typical trapped, insular and indoor psychological landscape in The Man on the Eiffel Tower, but an expansive and modern one reminiscent of the formalists.