Un fantasma

This film is another definitive proof that the FRench cinema did not begin,as too many people innocently think ,with Robert Bresson or the Nouvelle Vague.

"Un revenant" has everything: a dream of a cast where Jouvet is of course the stand-out:just hearing him speak is just a joy,his ironical vengeful voice makes this work unwatchable if it is dubbed; supporting actors are up to scratch:Gaby Morlay was probably never better as Genevieve ,a woman who accepted a compromise solution and whose life is definitely lost;Jean Brochard and Louis Seigner shine in their parts of mean bourgeois,the latter not afraid of marrying his only son with an ugly bubble head girl to assure the prosperity of his business;François Périer is the perfect romantic young lead,reading Goethe's "Werther" ,and epitomizing the youth which the fifty-something around him have never known;Ludmilla Tcherina is as competent as a gorgeous bitch as she is as a ballerina (she was a real "Danseuse Etoile de l'Opera de Paris");and last by not least,Marguerite Moreno,one of the French Monstres Sacrés ,as the rich childless auntie .

Remarkable sequences: Jean-Jacques (Jouvet),coming into his bedroom after twenty years;the same, painting a picture of the young François (Périer) as he looks at the things the boy keeps in his room; the sensational part in the opera theater ,where all the characters gather for the show,which does not really take place on stage;Geneviève looking through her opera glasses and saying goodbye to the posh despicable world she 's still part of;François looking at the whirling group of ballerinas from the flies ,and falling;The aunt 's final soliloquy when she confesses she expects nothing from the great beyond ;and more...

Henri Jeanson steeps his pen in venom and writes some of his most brilliant lines.Jouvet/Jeanson who had already worked wonders in previous movies (the most famous example being Carné's "Hotel du Nord" )team up for the very best ,under Christian-Jaque's masterful directing."Un Revenant" ,which was given four stars (out of four) in the "Dictionnaire des Films" is a must for everyone interested in the evolution of the French cinema.

With its flashy dialogues, its mockery, Christian-Jaque's bourgeois drama could still have some assets. But this revenge remains cold, theatrical, despite its disillusioned depths. The film doesn't tip over into a detective story and almost remains an easy and disenchanted vaudeville.

Five masters of French cinema, namely René Clément, Jean Cocteau, Jean Delannoy, Julien Duvivier and Christian-Jaque, each gave the world a classic in 1946. Of these it is the one directed by Christian-Jaque that seems destined to be overlooked. Even in the context of his total output it is cruelly underrated.

Some have suggested that it is too clever for its own good but that is a moot point.

It is a beautifully crafted piece of cinema and the last thirty minutes or so represents film at its best. Arthur Honegger's haunting score and the atmospheric cinematography of Louis Page add to the film's effectiveness.

It is essentially a tale of retribution in which ballet producer Sauvage, played by Louis Jouvet, returns to Lyons in order to exact revenge on those who tried to kill him twenty years ago. His targets are rapacious businessman Jerome Nisard and his wife Genevieve. He dupes Genevieve who left him for Jerome and is trapped in an arid, loveless marriage, into believing that he still loves her. Jerome happens to be in hot water financially and is trying to arrange for his idealistic son Francois to marry the daughter of wealthy, influential parents. Sauvage sabotages this scheme by engineering a meeting between Francois and his prima ballerina, the tantalising Ludmilla Tcherina, knowing that she will probably hang him out to dry which she proceeds to do.

Good writing makes good actors even better and the cast has the advantage of brilliant, trenchant dialogue by Henri Jeanson. Jouvet is an actor touched by genius and along with his trademark air of mystery he subtly shows us the pain that motivates his actions. Francois Périer in his breakthrough role as the young Nisard captures brilliantly the emotional torment of one who loves not wisely but too well. The most touching scene is that in which the Genevieve of splendid actress Gaby Morlay is left standing on the platform watching Sauvage's train pull away knowing that with it goes her last chance of escaping her dreary existence. Jean Brochard is immaculate as Jerome and as Gonin his business colleague, Louis Seigner is always good value. One cannot fail to mention doyenne Marguerite Moreno, as imperious as ever as Francois' wily old aunt.

True cinephiles will always appreciate this film's qualities but one is mystified by its general neglect. Perhaps it is just too cynical and bleak in its portrayal of human nature. Interestingly enough it also questions whether revenge, although a natural instinct, is ever really justified or indeed gives satisfaction. As Robert Louis Stevenson observed: "Sooner or later everyone sits down to a banquet of consequences."