The purpose of this essay is twofold : On the one hand, it reveals the heterogeneous generic structure of Brighton Rock ; on the other hand, it discusses its hybridity in terms of its relation to film history. Many critics have regarded Brighton Rock as a Catholic novel, paying attention to its religious aspect. However, what characterizes this novel is a strange coexistence of the religious and the ethical. Graham Greene presents the two different worldviews-Good and Evil, Right and Wrong-as a binary opposition ; what the text actually performs is a deconstruction of these two categories, thus suspending readers in a moral ambiguity. The textual hybridity is to be considered in terms of contemporary film history. Greene was a film critic in the latter half of the 1930s, and Brighton Rock is testament to his commitment to film criticism. I will claim that Greene has been an admirer of French Poetic Realism not only as a film critic but also as a writer, tracing a common existential theme in their works.