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IMDbPro

Pépé le Moko

  • 1937
  • Approved
  • 1h 34min
CALIFICACIÓN DE IMDb
7.7/10
8.4 k
TU CALIFICACIÓN
Mireille Balin, Jean Gabin, and Line Noro in Pépé le Moko (1937)
Ver Bande-annonce [OV]
Reproducir trailer3:30
1 video
99+ fotos
CrimeDramaRomance

Agrega una trama en tu idiomaA wanted gangster is both king and prisoner of the Casbah. He's protected from arrest by his friends, but is torn by his desire for freedom. A visiting Parisian beauty may determine his fate... Leer todoA wanted gangster is both king and prisoner of the Casbah. He's protected from arrest by his friends, but is torn by his desire for freedom. A visiting Parisian beauty may determine his fate.A wanted gangster is both king and prisoner of the Casbah. He's protected from arrest by his friends, but is torn by his desire for freedom. A visiting Parisian beauty may determine his fate.

  • Dirección
    • Julien Duvivier
  • Guionistas
    • Henri La Barthe
    • Julien Duvivier
    • Jacques Constant
  • Elenco
    • Jean Gabin
    • Gabriel Gabrio
    • Saturnin Fabre
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.7/10
    8.4 k
    TU CALIFICACIÓN
    • Dirección
      • Julien Duvivier
    • Guionistas
      • Henri La Barthe
      • Julien Duvivier
      • Jacques Constant
    • Elenco
      • Jean Gabin
      • Gabriel Gabrio
      • Saturnin Fabre
    • 67Opiniones de los usuarios
    • 67Opiniones de los críticos
    • 98Metascore
  • Ver la información de producción en IMDbPro
    • Premios
      • 2 premios ganados en total

    Videos1

    Bande-annonce [OV]
    Trailer 3:30
    Bande-annonce [OV]

    Fotos122

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    Elenco principal23

    Editar
    Jean Gabin
    Jean Gabin
    • Pépé le Moko
    Gabriel Gabrio
    Gabriel Gabrio
    • Carlos
    Saturnin Fabre
    Saturnin Fabre
    • Le Grand Père
    Fernand Charpin
    Fernand Charpin
    • Régis
    • (as Charpin)
    Lucas Gridoux
    Lucas Gridoux
    • Slimane
    Gilbert Gil
    Gilbert Gil
    • Pierrot
    • (as Gilbert-Gil)
    Marcel Dalio
    Marcel Dalio
    • L'Arbi
    • (as Dalio)
    Charles Granval
    Charles Granval
    • Maxime
    • (as Granval)
    Gaston Modot
    Gaston Modot
    • Jimmy
    René Bergeron
    René Bergeron
    • Meunier
    • (as Bergeron)
    Paul Escoffier
    Paul Escoffier
    • Louvain
    • (as Escoffier)
    Roger Legris
    Roger Legris
    • Max
    • (as Legris)
    Jean Témerson
    • Gravère
    • (as Temerson)
    Robert Ozanne
    • Gendron
    Philippe Richard
    Philippe Richard
    • Janvier
    Georges Péclet
    • Barsac
    • (as Péclet)
    Mireille Balin
    Mireille Balin
    • Gaby
    Line Noro
    Line Noro
    • Inès
    • Dirección
      • Julien Duvivier
    • Guionistas
      • Henri La Barthe
      • Julien Duvivier
      • Jacques Constant
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios67

    7.78.4K
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    Opiniones destacadas

    9claudio_carvalho

    Women Were His Salvation and Doom

    In the 30's, in Algeria, the charming Parisian gangster Pépé le Moko (Jean Gabin) rules in the district of Casbah. Surrounded and protected by the women and his gang, he is unattainable by the French and Algerian police forces, but also he has been imprisoned in the area for two years. The police unsuccessfully try to bring Pépé le Moko to the center of Algiers to capture him, and he misses his former life in Paris and Marseilles. The astute and ambiguous Algerian inspector Slimane (Lucas Gridoux) promises to arrest Pépé le Moko the day he leaves Casbah. When Pépé meets the French Gaby Gould (Mireille Balin), she represents everything he misses in his life, and he has a crush on her, bringing a fatal jealousy in his mate, Inès (Line Noro).

    "Pépé le Moko" is a great film-noir, with a good romance and excellent locations. The screenplay is very well developed, showing clearly the maze where Pépé is trapped, and explaining each character very well. Jean Gabin has an excellent performance in the role of a seductive criminal; Mireille Balin is extremely elegant, wearing beautiful costumes; and Lucas Gridoux is perfect in the role of the smart inspector Slimane. My vote is nine.

    Title (Brazil): "O Demônio da Algéria" ("The Demon of Algeria")
    9nin-chan

    White Nights

    It's not so surprising that this film originally bore the working title of "Les Nuits Blanches", as it certainly shares more than a passing resemblance to Dostoevsky's timeless tale and Visconti's mesmeric adaptation. "Pepe Le Moko" is, more than anything else, a love story, though it functions more as a commentary on the dynamics and nature of love than an exultation in its virtues. Like Dostoevsky's hapless dreamers, Duvivier's characters are in love with phantoms, incorporeal fantasies that they project onto canvas of flesh. Naturally, idealism and reality are hopelessly estranged, and efforts of reconciliation can only precipitate frustration and tragedy.

    Pepe le Moko is a tormented fugitive and exile, liege lord of a vice-ridden, sweltering microcosm and crown fool. Like the swaggering, stolid gangsters of Jean-Pierre Melville, Pepe is a victim of himself, prisoner of arbitrary codes of masculinity and honor. His hauteur are undermined by the minuteness of his empire, itself infested with conspirators eager to sell him to the police. His "freedom" itself is pathetic enough to be risible, venturing outside the insular sanctuary and he is fair game for the police. Clinging doggedly to whatever semblance of liberty he has left, Pepe acts out a tragic comedy within the confines of his circumscribed universe, his roles of Don Juan and Capone underscored by pathos and ennui.

    When a flighty Parisienne catches a glimpse of the fabled kingpin, she becomes instantly infatuated with his imperious manner, seeing him and the bloodthirsty world he represents as salvation from her stuffy bourgeois existence. In Aeschylean fashion, neither Pepe nor said femme fatale love one another, they merely love effigies, ideals. The female is Pepe's solitary conduit to his beloved Paris and the only confidante for his crippling homesickness. His indifference to her extravagant jewelry reveals the absolute arbitrariness of his criminal pursuits, a mere pretext for action in such boring climes. Yet, the viewer is acutely aware that the Paris Pepe longs for no longer exists, if it is represented by the addle-brained, vacuous Sybarites that his lover surrounds herself with. The mere fact that a Parisienne would exalt him as her liberator should itself alert him to the folly of his reveries. Sustained by his illusions, Pepe withdraws further from reality. Everything about Jean Gabin's character makes me want to cry- his fragile stoicism, his crestfallenness, his obsessive delusion, his self-destructiveness.

    There are some who would take issue with the implicit ethnocentrism in the "Casbah" imagery. Note that this was an adaptation of a novel written in the midst of fervent pro-colonial sentiment, and that, in Duvivier's hands, the Casbah becomes mythic, poetic, allegorical. The impenetrable veils of smoke are almost Cocteau-esquire, giving the film the sensuous richness of Scheheradze's chambers. At the same time, the mists accent Pepe's self-deception- his entire persona is fictive, as are his illusions of freedom and escape. The sequence of Pepe's fevered sprint toward the harbor may be maligned nowadays for its visual sloppiness, but I think it's absolutely marvelous, masterfully capturing Pepe's childlike impetuousness. As Pepe courses onward, the surrounding Casbah gradually blurs around him, the juxtaposition of back/foreground indicating his flight from one fantasy into another, as well as highlighting the sheer depth of his delusory monomania and tunnel-visioned myopia. As psychology transformed into image, this one works.

    Beyond everything, Pepe Le Moko is a deeply cynical film, its slightly jaundiced perspective on human nature reminding one of Clouzot, Hitchcock and Joseph Conrad. The entire film is a tight lattice of interwoven self-interests- look at the Parisienne's corpulent, autocratic husband, the obsence, oleaginous Regis and the servile, serpentine Slimane for some fine examples of the vile characters on display. Even the character who loves deeply and truly, the forbearing Ines, would rather betray Pepe than be estranged from him...a commentary on the covetous, self-serving nature of love, perhaps?

    I haven't seen any other Duvivier films, but he doesn't seem to be the humanist that Becker and Renoir are, and I can appreciate him all the more for that. Like Becker, he seems to have been largely misunderstood and under-appreciated in his time, at least on these shores, and the interview appended on the Criterion disk suggest that he was a retiring and modest sort, never garrulous about his art (and hesitant to even think of it as art, which it assuredly is). What a film this is....a terrific achievement. I love the golden age of French cinema, and this affirms and reinforces that affection.
    dominic-9

    The exotic origin of film noir

    Pepe le Moko marks a fundamental step in the aesthetic development of european cinema. It is also one of many great crime films of the thirties that is sadly overlooked in many critics top 100 lists.

    Through it's lush sense of location and character Duvivier builds up a sweaty, exotic and complex picture of the underworld life of the Kasbah and the vast panorama of engagingly seedy characters especially Pepe le Moko, played with such effortlessly charismatic ease by Jean Gabin. But it is the rich claustrophobic atmosphere and the relentless pressure of the police that powers this film along to it's elegantly tragic conclusion. A masterpiece, and the clearest fore-runner to the whole film noir genre.
    8bkoganbing

    A fool for love and risk

    Pepe LeMoko first was portrayed on the silver screen by French acting legend Jean Gabin. Despite American versions of this story starring Charles Boyer and Tony Martin, this became the standard the others are measured by.

    The Casbah section of old Algiers is where noted thief LeMoko holds sway and the natives accord him demi-god status. No doubt from the fact he's paid off the native population well for protection. An attempt is made by the French occupiers to go in and take him out, but the police are made fools of.

    It's hen protection becomes a prison. And the sight of a beautiful and chic French woman played by Mireille Belin sets Pepe to thinking about what he can't have.

    Beilin is wonderful in the Delilah role opposite Gabin's Samson. But there's more to it than carnal desire. Pepe lives for his work, the planning and execution of a caper, pitting his wits against law enforcement. His real nemesis Inspector Slimane knows Pepe better than Gabin knows himself. Slimane is played well by Romanian actor Carlos Gridaux.

    As for Gabin he creates in Pepe one of the great portrayals of his career. He led a life quite similar to one of the existential characters of his career.

    Smartly directed by Julien Duvivier. Pepe holds quite well, as well as the Hollywood version starring Charles Boyer that came out th following year..

    This is one not to miss.
    10Galina_movie_fan

    "Everyone in the world has two fatherlands: his own and Paris".

    "Pepe Le Moko" (1937) directed by Julien Duvivier - is a wonderful movie with the great performance from very young Jean Gabin. It just happened that I've seen several movies with him in the older age where he is serious, not very talkative man with the head full of grey hair and I like him in the later movies, too but it was so much fun to see him as Pepe - young, charming, dangerous, smart, brutal, irresistible, and so much in love with Paris that he'd lost forever. As much as I enjoyed the film as an early noir and crime, I think it is about the longing for home, about the nostalgia and as such it is even more interesting, deeper, poignant that just a noir. The celebrated film director Max Ophüls, who knew a lot about nostalgia and immigration said about Paris,

    "It offered the shining wet boulevards under the street lights, breakfast in Monmartre with cognac in your glass, coffee and lukewarm brioche, gigolos and prostitutes at night. Everyone in the world has two fatherlands: his own and Paris."

    I could not help thinking of his words when I watched the film. There is one scene that almost reduced me to tears - a middle-aged former chanteuse plays one of her records on a gramophone and sings along with her voice that has not changed at all even if she looks nothing like the picture on the wall from the days of her youth. The time may play very nasty jokes with a woman - she may get fat or skinny, lose her teeth and hair but her voice will stay as strong or tender, ringing or melodious as it was in the long gone days that stay forever in her memory. She sings about Paris and there are tears on her eyes and the scene simply can't leave any viewer indifferent. There is another scene - between Pepe and Gaby the girl from Paris with whom Pepe falls in love (Mireille Balin). They talk about Paris remembering different places which are dear to both of them, and in the end, they both named La Place Blanche where they both belong and not in Algiers's Casbah where Pepe is safe and he rules the world of criminals but can't forget the sound of Metro in Paris. When Pepe wants to tell Gaby that he loves her, he tells her that she reminds him of Metro in Paris...

    I have not even mentioned how masterfully the film was shot by Julien Duvivier and how well it was acted, how fast it movies, and there are so many wonderful scenes that I have not mentioned...Great, great movie.

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    Argumento

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    ¿Sabías que…?

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    • Trivia
      When Walter Wanger produced Argel (1938), the American remake, he tried to have all copies of this movie destroyed. Fortunately, he was not able to do so.
    • Errores
      After Pierrot's death, Pepe is getting progressively drunker, and his suit coat opens to reveal more of his shirt. His shirt has a monogram of "JG" on the pocket, which is the monogram of the actor (Jean Gabin) and not the character because Gabin often wore his own clothes and at that point in the film he coquettishly calls attention to the fact that he is wearing clothes from his personal wardrobe in a sort of sartorial wink at the audience."
    • Citas

      Chef Inspecteur Louvain: But can we trust you? No double-dealing?

      Régis: Sir, I am an informer not a hypocrite.

    • Conexiones
      Edited into Spisok korabley (2008)
    • Bandas sonoras
      Où est-il donc ?
      Music by Vincent Scotto

      Lyrics by André Decaye and Lucien Carol

      Performed by Fréhel

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    Preguntas Frecuentes19

    • How long is Pépé le Moko?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 13 de marzo de 1942 (México)
    • País de origen
      • Francia
    • Idiomas
      • Francés
      • Árabe
      • Inglés
    • También se conoce como
      • Tajinstveni Alžir
    • Locaciones de filmación
      • Algiers, Algeria(exteriors, backgrounds)
    • Productora
      • Paris Film
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Presupuesto
      • USD 60,000 (estimado)
    • Total en EE. UU. y Canadá
      • USD 155,895
    • Total a nivel mundial
      • USD 156,544
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 34 minutos
    • Color
      • Black and White
    • Relación de aspecto
      • 1.37 : 1

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