El tiempo de los asesinos

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.

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

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!!

Resume:

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

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!

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