Well, I'm not expecting a faithful translation, but hell, there's much be a way to do it. It'll probably be a shadow of the original, but I see no reason it couldn't be done. As for ugly racial aspects... these things happen. I'd be still interested in reading it.
I still think Night & The City is very good, but it's imho as a total product the weakest of the noir cycle 1947-55. Richard Widmark, the supporting cast, and the photography help along a flawed script (or a film not edited to snuff), not to mention the klunky and entirely unbelieveable Gene Tierney aspect of the plot (written in late in the game to assist a hurting Tierney), and the strangeness of the next door neighbor. Jules' other films just don't have these glaring flimsy zones requiring forgiveness.
I disagree, and I have to say it's probably my favorite film noir. Period. I purposefully don't see the bad editing, or flawed writing that you see. As for Tierney, yeah I can see that, but I don't find her all that unbelievable. How a nice girl like her would end up in a place like that is a little unbelievable, but a nice girl like her falling for a complete loser like Widmark... I've seen worse pairings in real life. She isn't exactly Valentina Cortese, but I don't feel she's the "this movie needs some romance and a love interest" akwardly sticking out like a sore thumb the way the flashbacks in Brute Force
are. While she may be a little too pure and innocent for realism's sake, I think the use of her as a possible, but missed chance of redemption for Fabian works.
The neighbor had no reason being there, agreed, but it's such a minor flaw, and in a cycle of films full of flaws, usually imposed by censorship (and I'm assuming he's in their for a moral reason), I can ignore it. Once Gregorious dies, and Fabian is left running scared through London, I could care less about a one-dimensional minor throwaway character. And the ending is still one of the more haunting and fatalistic of all of film noirs, one I still find suprisingly, and refreshingly, bleak for a 1950 film.