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From the opening shot of Daniele Delorme as Catherine walking across Les Halles this film takes hold and never loosens its grip. Superbly structured and beautifully paced it builds to a terrifying although somewhat melodramatic finale. This has to be one of Jean Gabin's greatest roles as he does not so much act the part of Andre as inhabit it. The change in this easy-going, good-natured man as he realises that he has been duped and deceived is highly effective. One usually cringes at the titles given to European films for the American market but here Kipling's words 'Deadlier than the Male' are decidedly apt. Lucienne Bogaert, Germaine Kerjean and Gabrielle Fontan play their monstrous characters with relish whilst Daniele Delorme as the 'femme fatale' is stupendous in what would seem, on paper, an extremely difficult role. Her portrayal reminds one of Shakespeare's phrase 'There is no art to find the mind's construction in the face'. The diverse characters in and around the restaurant are wonderfully drawn. Shot by the legendary Armand Thirard and edited by one of director Duvivier's regular collaborators Marthe Poncin, this is film noir of the highest quality. Even the best directors alas have only so many great films in them and although we have good ones like 'Henriette' and 'Marie-Octobre' from Julien Duvivier still to come, the film under review is sadly the last of his very best. Disappointing to see that Cesar the canine chum who plays such a vital role in this film, is uncredited. Oh well, that's showbusiness!

Jean Gabin runs a restaurant in Paris. He manages his team. He has an adopted son, Gérard Blain. There's his mother, who runs a guinguette on the banks of the Marne. His ex-wife's daughter appears; his ex-wife is dead and his daughter doesn't know what to do, so she comes to see him in Paris. It's Danièle Delorme in the role of femme fatale, who returns with designs that we'll gradually come to understand thanks to the script, which moves forward slowly but surely, with points of no return at every turn. She's going to turn Jean Gabin's world upside down.

Danièle Delorme carries the film. Jean Gabin is quite credible as the restaurant owner. Gérard Blain is more monolithic. The life of Jean Gabin's character is turned upside down by all these women: his deceased ex-wife, his ex-wife's daughter, his mother. We could even say that they are all femmes fatales, such is their influence on the various characters. This is a film noir.

It's a good thing that the music is sparse and not overdone like many films of the period. This makes the film even stronger. A very pleasant surprise.

This Duvivier gem is the definitive proof that the FRench cinema was not moribund in the late fifties.Julien Duvivier,the master of the film noir French style ("Pepe le Moko" was a strong influence on the American film noir),outdoes himself and gives his last masterpiece ."Voici le temps des assassins " outdistances all former works ,it's really the apex of evil.

Danielle Delorme 's character is one of the most perverse you can see on a screen:she almost makes us forget Jean Simmons in "Angel Face" .This girl is perversity flesh on the bone.Is she a victim (of her education? her sad background?)Delorme told in an interview that her part was "much too much",that she probably had excuses,that she probably suffered during her childhood: terse answer by the director:"evil people are evil,period." Duvivier's world is thoroughly noir:the three old women who are featured in the movie are evil too.

Germaine Kerjean's character is even more terrifying than the false ingenue :not only she probably broke her son's marriage (Gabin) but she has also continued to dominate him.When Gabin introduces her to Catherine,she simply says with a threatening smile :"she has a chilling way about her" ;actually this reply turns the audience 's heart into ice.this old shrew is sadistic to a fault:you should see her behead her chickens in her guinguette (cafe where you dance on the banks of the Seine)!You should see her thrash her daughter-in-law,yelling,when the whip comes down :"that will knock you into shape!!" Catherine's mother(Lucienne Bogaert) is a slut,the ugliest woman you have ever met,destroyed by alcohol and drugs .She epitomizes decay.She urges her daughter to kill her husband -who was also his twenty years ago-,and the way she plans the murder,lavishly detailed ,makes your flesh creep.

And there is Gabin's housekeeper (Gabrielle Fontan),a hypocrite spinster who never found love and thus is jealous of Catherine,who is young and beautiful.she moves in the house like a snake ,always on the look-out for some gossips about Catherine,the intruder.

The action takes place in three places: 1)Gabin's restaurant in Les Halles,now a thing of the past,where the scenarists take a slap at the Americans -who are far from being gourmets- and the dogs (there's humor in this somber story).

2)Catherine's junkie mother's room ,in a seedy house near decay,where she spins her web.

3)Her mother-in-law's guinguette,turned into a living hell by the owner.

The characters move from one place to another,as an almost unbearable tension rises and takes all the characters in a bloody violent final by the misty banks of a glittering Seine.

This movie contains scenes that will leave you at the edge of your seat,even 50 years after:Kerjean,whipping with an intense pleasure;Gerard's (Gerard Blain) murder in the night down by the Seine;His dog,barking at a scared to death Catherine.Sincerely,I've seen lots and lots of FRench movies,but few (if any) come close to this one when it comes to depicting wickedness ,greed and perversity.

Once dismissed as "pre nouvelle vague trash" "voici le temps des assassins -looked upon as a masterpiece by Bertrand Tavernier,one of the masters of the contemporary French cinema - has since been restored to favor by a whole generation of viewers (its IMDb rating is currently 7,6!Thanks to the users!)and critics (Jacques Lourcelles notably).

Claude Chabrol and Bertrand Tavernier love this film.

Watch "Voici le temps des assassins" at all costs!!!!

No, I can't believe that this film only get 3 users reviews, 419 voters, and not even one topic on its message board! It is one of the four immortal masterpieces —along with "Pépé le Moko", "La fin du jour" and "Panique"— of an immortal master, Julien Duvivier.

All in there is at the very top (and even the over-the-top is at the top!).

A clockwork scenario, the sharp dialogues, a cinematography like they knew how to make. And the best own's performances for Jean Gabin, Danièle Delorme, Lucienne Bogaert.

See it! Watch Duvivier's movies! Vive le cinéma!

Didier_fort at hotmail.com

Only 6 reviews for that pure Masterpiece of French Film Noir, direct in my top 5 ("Les Diaboliques" have 160 reviews and "Non Coupable" has only 2 reviews (?)(another pure masterpiece of French Film Noir with Michel Simon at his best, in my top 5 of course). Everything has been said by other bright reviewers, I just confirm you cannot forget that sick darkness of the characters. Impossible, printed forever in your mind.

This opens in stunning fashion, with amazing panning shots of Paris' Les Halles in full and glorious flow in the 50s. Parisians must look now at London's Covent Garden development and wonder just what they did to their own central market. Back on screen, the fine sequences continue inside Jean Gabin's busy and successful restaurant, with great movement and sense of excitement. Both Gabin and Daniele Delorme are most effective as the narrative develops but it is a familiar tale and Delorme is only too convincing in her role to deceive just about everyone, seemingly for love but in reality, of course, for dosh. a surprising whipping scene and some scenes of real tension towards the end but this is french and overlong without too many surprises.

Were it not for the final 15 unbelievable minutes, I could have given this one 9, because the direction is assured, and the cinematography by Armand Thirard is wonderfully evocative, both of Les Halles and the Seine riverbank. Gabin and Blain playing two men suckered by a woman give excellent performances, Lucienne Bogaert as the woman's junkie mother gives another in a long line of vicious performances (how I've loved to hate her over the years), and the woman herself, Daniele Delorme, playing the crazed daughter of Gabin and Bogaert manages to hold her emotions in check until those final unbelievable minutes.

I grew up watching Duvivier's films: Carnet de bal, Pepe le moko and La Bandera. I saw in them a mastery of detail and a way of working with actors that pleased me very much. His work in the 50's doesn't equal what he did then.

Jean Gabin runs a great restaurant right by Les Halles, the central market of Paris. He's bluff, hardworking, and has taken under his wing Gérard Blain, a poor medical student who works at the market, whom he feeds regularly and takes with him to visit his mother, who runs an inn in the country. Danièle Delorme comes to him from Marseilles. She is the daughter of his ex-wife, who has just died. Gabin takes her in and treats her as a daughter, but comes to have different feelings for her. There's just one problem. Her mother isn't dead. She's a drug addict staying at a cheap hotel nearby, and has a plan for profit.

It's a tale of betrayal directed by Julien Duvivier, and with Gabin in the lead, it's watching both at the top of their forms. One of the strengths of Gabin is his ability to convince you he is what he's playing on screen. As the chef and owner of the restaurant, he's always busy, cooking, dealing with the staff, tending to his customers, catching fish for a fry-up outside his mother's inn. Others get their moments, like Aimé Clariond as an old rake who keeps bringing young actresses to the restaurant, like a character out of a Clouzot film. In fact, it looks like Duvivier is trying to out-Clouzot Clouzot, and he does a fine job of it.

Voici Le Temps Des Assassins / Deadlier Than The Male (1956) : Brief Review -

A ferocious take on femme fatale in its deadliest form that needs to be viewed for its shocking first-time impact. You may have seen many Femme Fatales from old Hollywood, including several unbeaten classics, but I doubt if you have seen the deadliest Femme Fatale presentation of the leading lady as such. It's absurd and terrifying sometimes because it doesn't fit in your (or mine) regular columns, but that's what makes it shocking. For instance, I personally hate seeing a lady playing femme fatale with a man of her father's age and a man of her age at the same time, and there is nothing shocking here. But it will be a bit shocking if those two men are father and son. It will be a sure fire shock when you know that the girl was the man's daughter, and he introduced her to his son as his sort of sister. That's what's absurd here. I don't belong to that society where a girl can marry her father and also have an affair with her stepbrother. That's ridiculous. I have cut 1 mark in the final rating for that. Now, when I think of it again after the film, I realise that the story would have been uninteresting without those ridiculous conflicts. Here's adding half a mark extra again. Still, the idea is really disturbing, extremely peculiar, and somewhat annihilating. The film needs to be viewed for that. Rest; thankfully, it has a good and positive climax where things come down to a "happy ending". Jean Gabin is superb, as expected, but it's Danièle Delorme who stole my attention. She is so damn good in that gruesomely deadly role. Julien Duvivier's direction is convincing, as the film does not have any flawed moments, and it keeps you very hooked. I'd say you should definitely have a look, but not as a classic or a great film, but to see something pathbreaking that's suitable for our standard human and social conscience.

RATING - 6.5/10*

By - #samthebestest.

After a long dark winter Jean Gabin comeback to work with Duvivier in this heavy Noir, a divorced Restaurant's owner living in a prosperous life in his high class business, when suddenly appears young daughter of his former wife, Gabin has a young friend who are in final medicine study to be a Doctor, Gabin suggest that both could be a lovely romantic pair, but the young woman will slowly manipulating all situation for your own benefit, seen that Gabin likes too much the prouder student, she acts on both sides, the monster show his sharp claws, so many lies, misleading and finally trying to murder, the heavy atmosphere caught everybody with so madness from this Angel face, the picture always was rejected by the moviegoers, somehow had many best reviews including from Truffaut and others, then the picture will survives and quickly became in a classic from Duvivier-Gabin, a near masterpiece in an old Paris Market, a little bit heavy for some taste, the narrow streets, old decaying area supply an perfect environment to develop such intricate story, just Noir genre allowed it to us!!

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First watch: 2019 / How many: 1 / Source: DVD / Rating: 9.25

Julien Duvivier and Jean-Pierre Melville are my favorite French film noir directors. Duvivier is in his best form ever in VOICI LE TEMPS DES ASSASSINS, a masterpiece from beginning to end.

It boasts one of Jean Gabin's finest performances ever - no mean accolade given that Gabin simply never acted badly, regardless of the quality of the film he appeared in. And he appeared in a fair number of duds.

In this case, he delivers a calm, nuanced performance reflecting the basic good nature of his character, always ready for a kindness to his staff, customers, and friends. He loves his mother and treats his old maid with respect, two women who have always looked out, and continue to look out for him. However, his genuinely benign nature belies a strong character. He is no pushover or fool. The subtle script trains the spotlight on a selfless, generous man who gradually loses his cool and changes as he finds more and more about his deceitful wife.

His first wife, whom he divorced but does not resent for taking him to the cleaners, is the mother of his second wife to be, Catherine, a young woman played by the beautiful yet facially plain Danielle Delorme - an interesting combination of contrasts that reflects Catherine's own inner contradictions, and capacity to change mood, lie and backstab others in the blink of an eye.

Delorme delivers an outstanding performance of psychotic complexity under the veneer of normality and bodily elegance. It is clear from the way she looks at Gabin and at his restaurant that she has a plan. That she is not the angelical soul she tries to convey comes across steadily, and is confirmed with her clever and opportunistic theft of a wad of notes from a customer.

There is nothing innocent about her purported innocence, and her laughing and crying reaction to Gérard murder is a sequence of genius and psychological insight reflecting Duvivier's sensitive understanding of the fact that Catherine is not just out and out evil, but is also capable of love.

Catherine ingratiates herself into Gabin's life with ulterior motives which are dropped piecemeal in the viewer's lap. The result is riveting film narrative.

Tough logic drives the highly credible and incisive script. B&W photography is exceptional. Fitting soundtrack, too, with great initial song by Germaine Montero.

There is not one weak acting performance in the film. Gérard Blain excels as Gabin's loyal but misunderstood and tragically misrepresented best chum. Gabrielle Fontan as Gabin's sharp-eyed and whip expert mother, and Lucienne Bogaert as Delorme's drugged mother also deserve the highest plaudits.

Perhaps César could have been a meaner-looking dog. I accept that but César too has an exterior that belies his inner personality. That fun and loving exterior conceals a basic loyalty toward his beloved owner, himself an example of loyalty. The scene where César lies next to Blain's covered corpse is deeply touching and it provides the logical ramp for his final, revengeful attack. The beast is capable of far nobler feelings than the modern-looking, cunning, and apparently civilized Catherine, the trademark femme fatale.

Must-see film noir. 10/10

A thoroughly character-based thriller, so there's somewhat of a slow build-up to the bit where everybody gets dessert. In the meantime, a beautifully staged, photographed, acted and directed movie that even has an intrepid dog in it. The dénouement does feel a little deflated, like an unfortunate soufflé.

Jean Gabin, French national treasure, is a renowned chef/patron André Chatelin (a 'Traiteur') in his 50s in the long-lost Les Halles area of central (ventral?) Paris. Watching this movie wouldn't be a bad way of starting in the catering trade, then restaurant scenes are so authentic.

When his ex-wife (Gabrielle)'s gorgeous daughter (possibly the reason for the divorce) turns up telling him Gabrielle is dead and she (Catherine) is destitute, good-natured André is drawn into a plot to murder him and inherit his money. The way that Catherine succeeds in tying up everyone in her web of lies, while remaining the supposed victim, is extremely well depicted and suspenseful.

The said dénouement, heavily involving César the shaggy dog of the young, duped medical student Gerard Delacroix, is a little anticlimactic, but the journey is filled with stunningly good scenes, characters and dialogue.