American philosopher Hubert Dreyfus saw the film as exemplifying Friedrich Nietzsche's conception of ("active" versus "passive") nihilism. On this reading, Michel and Patricia are attracted to each other. Michel is active and bold (modelled on Bogart, whose humorous gestures he adopts), engaging himself into careless actions, including crime. He falls in love with Patricia. Patricia, however, isn’t comfortable in such engagements. In the end, Michel is handed over to police and he fascinatingly kills himself. Her puzzled reaction to his final performance leaves its impact on her attitude open.[7]
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