It comes with a familiar “heist aftermath” noir setup, 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 1955’s masterful Razzia. Thick blacks, bright whites, Dutch angles, high angles, pans and zooms follow the action as a 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 at first by suicide (a fall from a high floor, a hanging by metal wire) but under increasingly suspicious circumstances. We won’t know who’s behind the carnage until the very end. While Peter Van Eyck plays the ostensible gang leader, the main protagonist, the thoughtful yet hapless Tony Lefébure, is played by André Versini, who also wrote the script, while Anouk Aimée stars as Tony’s fiancée Isabelle. Decoin adds humor in just the right measure, not at all at the expense of thrills and tension, but despite a reasonably entertaining story and a solid enough cast, the film’s main appeal lies in the undeniably stunning visual style; note, for example, the seemingly-effortless yet as-noir-as-it-gets scene in which Isabelle visits Tony in prison, their silent, low-lit, closeup gazes separated by the thick grates of two protective screens and an impatient guard pacing back and forth in between.