It has a familiar “heist aftermath” noir premise, but Tous peuvent me tuer (US: Anyone Can Kill Me) benefits heartily from the visual talents of director Henri Decoin and cinematographer Pierre Montazel, the same duo behind the masterful Razzia (1955). Thick blacks, bright whites, Dutch angles, high angles, pans and zooms animate the story as the gang of five execute a jewelry heist, break into a distillery at night and smash up the place, and spend the rest of the film pacing the cells and walking the halls of a gorgeous, multi-story prison set designed by the great Raymond Gabutti. The plot twists into And Then There Were None territory once the five convicts, who have gotten themselves convicted of a lesser crime for lighter sentences so that they can divide up the stashed loot when they get out, start dying in the pen, presumably by suicide at first (a fall, a hanging) but under increasingly suspicious circumstances. We won’t know who’s behind the carnage until the very end. Decoin adds humor in just the right measure, not at the expense of thrills and tension. While Peter Van Eyck plays the ostensible leader of the gang, the main protagonist, the thoughtful yet hapless Tony Lefébure, is played by André Versini, who also wrote the script. Anouk Aimée stars as Tony’s fiancée Isabelle. Yet, despite this solid enough cast and a reasonably entertaining story, the main interest is the undeniably stunning visual style; note, for example, the as-noir-as-it-gets scene in which Isabelle visits Tony at the prison, their silent, low-lit, closeup gazes separated by the thick grating of two screens and an impatient guard pacing back and forth in between.