Steven Soderbergh’s neo-noir remake of Criss Cross (1949) is a really exceptional effort at transposition on multiple levels. The use of a single overwhelming color (usually blue or green) in certain shots effectively works to approximate a noirish chiaroscuro. The slightly downscale club owned by Tommy Dundee (William Fichtner) not only stands in for Austin, TX’s music scene but modernizes the the postwar LA locations used in the original version. A side by side comparison would surely be worthwhile.