Argel

It was made just one year after Duvivier's classic ,which even Godard (Godard!)mentioned in his "Pierrot LE Fou".Although I hate God'Art about as much as I love Duvivier,I must admit that a film that can transcend the New Wavelet's contempt possesses something magic a la "Casablanca" .

I was skeptical about the lead:aristocratic Charles Boyer replacing plebeian Gabin?I was wrong :Boyer,who began his career in France after all ,was up to scratch.And I 'd go as far as to write that Hedy Lamarr is much more attractive than Mireille Balin in the original.

All that remains is faithful like a dog: except for the scene when an old singer (Frehel) bursting into tears when she hears one of her old recordings,all the important sequences were kept.Cromwell's directing is efficient ,although it never recaptures the intensity (and the director's pessimism) of its model ,is a good film one can recommend to people who cannot get "Pepe Le Moko" .

Objections: the scene of Pierrot 's letter and the punishment of the informer is much too long and lacks suspense.Biggest gaffe is this ditty ("C'est La Vie" ) which Boyer sings and which seems out of a musical :in what is primarily a film noir,it's thoroughly incongruous.

Many of the great lines of the French classic can be heard ,notably the famous "I'm an informer,I'm not a hypocrite",and the Boyer/Lamarr pairing displays a special chemistry .The black and white makes a good use of shadows and lights.

If all the remakes were made with care like this one.....

Satisfying, exotic American version of the French film "Pepe Le Moko" (which, I've heard, was distributed here in the U.S. under its French title, which means Pepe the Pimp, unbeknowest to the censors). Boyer leads the right star performance and Lamarr gets her ingenue role as the girl he loves but can't see outside of the Casbah. When the police try to arrest Pepe in the Casbah, he quickly disappears and they receive no cooperation from the locals. To lure him out of that district's confines, the cops set up a trap using the unknowing Lamarr as bait. their sad, brief romance ends, presumably, with his incarceration. Similar in plot, but not in tone, to contemporary "gangster" flicks.

No, Charles Boyer never said, "Take me to the Casbah." That is just as false as "Play it again, Sam," a line from a film that will come to mind when watching this one.

Boyer (Conquest, Fanny, Gaslight) picked up his second Oscar nomination for this film. He plays a jewel thief that has found a haven in the Casbah in French Algiers. He has a hot girlfriend in Sigrid Gurie, but he sees Hedy Lamarr and it is all over. he falls head over heels and spends languid afternoon reminiscing about a Paris that he can never see again.

Director John Cromwell, who had his career ruined by McCarthy fascist in the 50s, did a very good job of presenting the excitement of the Casbah and the attempts by the French police to trap Boyer. He was ably assisted by the sets decorated by Alexander Toluboff (Stagecoach, Vogues of 1938) and the cinematography of James Wong Howe (The Rose Tattoo, Hud), who along with Toluboff received an Oscar nomination for this film, the first of ten in his career.

Just like Kong, it wasn't man, but beauty killed the beast. In this case, the beauty of Hedy Lamarr proved to be the death of Boyer in an ending that will again remind one of Casablanca.

The tragic account of Pepe Le Moko having been filmed in France the year before with Jean Gabin as the star must have really impressed producer Walter Wanger. It's not often that a remake is made only a year later.

Jean Gabin who has been compared to Humphrey Bogart certainly would have brought a different style of Pepe Le Moko. But this film did wonders for Charles Boyer in establishing him among the first rank of American film stars.

His Pepe is suave, cunning, and deadly. Unfortunately while hanging out in the forbidden section of French Algiers known as the Casbah, Pepe has sort of built his own prison in that section. He cannot leave because the French police will grab him and a whole bunch of countries are getting in line with the French Foreign office to deport to face a slew of crimes. But in the Casbah he's untouchable as the visiting French prefect Paul Harvey finds out.

Joseph Calleia as Inspector Slimane knows the only way to capture him is to lure him out of his shelter. And the bait for that walks in with a visiting tourist from Paris played by Hedy Lamarr.

Hedy Lamarr was under contract to MGM having been brought over by Louis B. Mayer after her scandalous nude scene in the Austrian film Ecstacy. But MGM couldn't find anything for her to do, so she stayed idle drawing her weekly paycheck while a suitable property was found.

Boyer met Lamarr at a party according to The Films of Hedy Lamarr Citadel Press Series book and was taken with her. He told Walter Wanger and Wanger worked out a deal with Mayer that they could have Lamarr if Boyer did an MGM film. The one he did was Conquest with Greta Garbo. Seems to have worked out all around.

There's a lot of debate as to how good an actress Lamarr was. And in the right circumstances she could give a decent performance. The right circumstances was definitely Algiers where Boyer knew that the woman who could stir him from his safety net had to be one extraordinarily beautiful woman. No one ever questioned that about Lamarr. Algiers launched her career for American audiences with a blowout performance.

Charles Boyer was nominated for Best Actor as Pepe, but lost to Spencer Tracy in Boys Town. And Gene Lockhart as the treacherous Regis got a nod for Best Supporting Actor, but he was beaten out by Walter Brennan in Kentucky.

What's even more extraordinary is that Director John Cromwell did a magnificent job in capturing the mood and ambiance of Algiers. A few establishing newsreel shots and great sets and you would think this was done on location.

There was a third film version of Pepe Le Moko's story with Casbah starring Tony Martin. It was a musical version that fell short of establishing Martin as a big screen draw, but the songs were some of his best selling records.

Still though Boyer does a fabulous job as Pepe, though I would some day like to see Jean Gabin's version for comparison.

Boyer doesn't actually say that, of course -- in fact, he never LEAVES the Casbah, so how could he -- but it's the general idea. I'm told this independently-produced Hollywood classic is almost a shot-for-shot remake of Duvivier's "Pepe Le Moko," from the previous year; I've never seen that one, but it's hard to believe Duvivier could have matched John Cromwell's fabulous production design, combining skillful backlot compositions with second-unit location projections, or the moody James Wong Howe photography, with the sweeping tracking shots capturing life in every corner.

The story may be no more than standard romantic hokum, but whether the filmmakers intended it or not, the movie has a wonderful existential melancholy, with Boyer's heavy eyelids viewing the world impassively, accepting his fate unquestioningly. Add to that a fine rogue's gallery of character actors (especially nice work from Gene Lockhart and Alan Hale), and you have brilliant Hollywood escapism. The judicious, sparing use of music (unusual in those Max Steiner days of underline-everything-with-a-melody) adds to the atmosphere. And it matters not a whit that Hedy Lamarr is not much of an actress here, or that every plot turn is utterly predictable.