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The main difference between this French-language number and the hardboiled crime melodramas of Dassin, Sautet, Melville and company is that they tapped into the malaise of a part of Europe that was going thorough something of an existential post-war crisis itself. Death Will Come , which throws a female hired killer into a messy web of intrigue, has no such contemporary resonance.
Set in and around an enjoyably dingy Brussels, this is an exercise in style, its only update on the guys and dolls copybook being that most of the guys and dolls are gay and some of the dolls have at least as much agency and thirst for power as the guys. Death Will Come does at least encourage us, from an early stage, to make our peace with the sheer fictionality of a story that takes a while to settle.
A courier is arrested in Luxembourg, and subsequently murdered while serving out his house arrest in a seedy hotel. Dramatic tension is notably lacking in Death Will Come β even the final shootout has its longueurs.
Apart from a brief scene set in the august halls of the Musee Oldmasters Museum, this is a Brussels of underground loading bays, suburban sports fields, abandoned factories and sleazy escort bars.
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