We know about the appreciation of, and contributions to, noir film and fiction by the French. We know that they celebrated the likes of Jim Thompson when the now-revered American noir author was kicked to the curb in his home country. And in 1960 another striking example of U.S. noir being recognized by the French occurred when rising star French film director Francois Truffaut used a novel by American David Goodis as the basis of his second film. Truffaut had come across Goodis’s bleak 1956 title Down There along the way, was enthralled by it, and had one of his legal reps buy the movie rights. Then, after dazzling the movie-watching universe with his groundbreaking debut, 1959’s French New Wave classic The 400 Blows, Truffaut wanted his next film to be something less blatantly French and something that showed the influence American cinema had on him. Cue Shoot the Piano Player and Goodis’s downbeat tale of a once-famous musician, who is now playing tacky fare in a rank-and-file bar, was the perfect vehicle through which the director could put these desires into effect.