Ein eleganter Gauner

How many "Vidocq" versions are there ? Probably more than you'd want to see.The last one was released a couple of years ago (feat Depardieu) and was a commercial and artistic flop.French versions galore are up for grabs including a miniseries in the sixties.

This American version of the thief-turned -cop is a different matter cause it is probably as far as the real life character as it can be.George Sanders' suave portrayal is actually close to Arsene Lupin the French gentleman-burglar invented by Maurice Leblanc.After all Detlef Sierck (Douglas Sirk) was European .Aunt Ernestine is some kind of equivalent of Lupin's old nanny Victoire.The parallel with Saint George and the dragon is a good idea ,when a man has actually to fight against himself on the way to redemption.

The film is highly praised in Vidocq's native France:Jacques Lourcelles writes that ,"lost in Hollywood ,Sirk is at home again in an old tale of good old Europa.

I must confess I find "scandal in Paris" a bit cold and sometimes dull and I like Sirk best in his "Melodrames Flamboyants".

George Sanders as Eugene Francois Vidocq, a clever French crook (and a very flimsy representation of the amazing real-life template), is both the lead actor and narrator of this film in which he neatly swindles his way from a lowly prison cell to the top of French society delivering a bounty of aphorisms along the way. The real-life Vidocq began as a rough-and- tumble child criminal and ended up a government minister.

Sanders basically delivers the same polished performance seen in numerous other films, from "Man Hunt" (1941), through "The Picture of Dorian Gray" (1945) and "All About Eve" (1950): the cool, cultivated, continental, dry wit with just the right suggestion of the animal beneath. Carole Landis, in what may be her finest role, is both funny and chilling as a self-centered show girl who blatantly uses her beauty to catch wealthy men. Signe Hasso (who looks distractingly like Margaret Sullavan) plays the daughter of the minister of police; she falls in love with Sanders but is as lifeless and damp here as she is vivacious and crackling in "The House on 92nd Street," made the year before.

The film is obviously 100% studio made, with painted backdrops to represent the French countryside. But since scenery is not the point here, this drawback can be overlooked. It's an unusual film about an extraordinary man, here reduced to a sort of Sherlock Holmes who strides both sides of the law.

Although the story line bogs down a bit and the plot gets a bit thick at times to follow, for fans of George Sanders this film is an absolute must. I cannot imagine anyone else but Sanders in the lead as the con man Eugene Francois Vidocq the thief who rises to become the head of the Paris PD and then gets put in charge of the security at the bank. The better to rob it when the time comes.

Even when in the greatest of danger of exposure Sanders is never at a loss for word, wit or wits. The only one who knows the whole story of Sanders is Akim Tamiroff and he won't tell.

I cannot and will not spill any of the elaborate plans that Sanders makes, but it involves his ability to con every one so that he is trusted implicitly.

One should also take careful note of Gene Lockhart who usually is playing sniveling rats. Here for a change of pace he's a detective who Sanders makes an absolute fool out of.

Forget Addison DeWitt and the Oscar Sanders won for playing him, A Scandal In Paris is no doubt his career role. And he looks like he's having such a good time in the part.

The movie is totally Sanders', and one of his finest--certainly one of his finest NON-supporting roles. BUT, it is also Landis's finest performance--her Flame Song is beautifully performed and foreshadows [sic--in both sense of the term]her final demise. See it for Sanders, who is always so worthwhile, but see it for Landis--at her peak

A kind of anti-Les Miserables, this sophisticated period comedy inverts conventional morality, following a thief/scoundrel as he rises to become the chief of police of Paris. This makes an ideal showcase for George Sanders at his peak of suavity, which he maintains even in a blond wig while posing for a portrait of St. George [this evolves into a theme of the film: "In all of us there is a St. George and a dragon"]. Naturally, Sanders effortlessly spins aphorisms: on adultery, he murmurs, "Sometimes the chains of matrimony are so heavy they have to be carried by three".

Very much a production of displaced Europeans [Sirk, Shuftan, Eisler, Pressburger], the story celebrates a continental tolerance ["No man is a saint"]. Douglas Sirk clearly enjoys the subversive charm of the criminal mind which stays sharp by exploring all the possibilities for larceny. However, Sirk is not cruel: the provincial victims are not buffoons; they are just not sharp enough to see all the angles in each situation. He does not mock the cheerful dowager [Alma Kruger] who is eager for more adventurous company, and even the bumbling cuckold [Gene Lockhart] is ultimately touching when he disguises himself as a canary-merchant.

Like its contemporary, Renoir's DIARY OF A CHAMBERMAID, this sometimes seems like a European film trapped in Hollywood. However, while the first hour sometimes strains to be "naughty" [as in a decorous skinny-dipping scene], Sirk is able to unify the tone more successfully than Renoir. If Signe Hasso seems a bit old [at 30] as the wide-eyed ingenue, and Carole Landis struggles through her music hall number, Sirk guides both of them to satisfying moments, justifying their casting. The plot – involving a garter made of rubies, a monkey called Satan, and a Chinese carousel with a giant Pekinese to ride -- develops increasingly clever and surprising twists, to a pleasing conclusion.