La poison

One is perfectly justified to see this as social satire, but for me Guthry's "La poison" (1951) is, above all, an easygoing, darkly humorous and witty pastiche on acting in all its forms – taking on roles in marriage, in society, in one's own eyes, in others' eyes, and of course, in a film. The opening introductory credit sequence sets the mood perfectly, as there we are explicitly shown that we will witness a performance that has been carefully planned, all actors, actresses and staff selected. I don't think this is just a stylistic whim of exuberance, it's an actual set-up for us. There are several references to theatre with exits and entrances through doors, and space is handled with confines, scenes as separate entities, spaces as separate entities. And then there's the central scene in the lawyer's office, where they literally create a fabrication that when inverted becomes the desired reality for Simon's character. Reconstruction, deconstruction, all of this means the same in this wonderful scene.

The chimera and the clown, death and joy – that's what the film is also about. This contrast of tragedy and comedy, its light-hearted darkness, presents itself also in the title, playing with the meaning of poison ("le poison" in French, with the masculine article) and the mocking identifier "la poison" (with the feminine article) given to… well, by all means watch the film and you'll find out.

This is a minor masterpiece. It is Guitry at his most cynical - and that's saying a great deal. Michel Simon's wife, presented as a perpetual drunk, has no redeeming qualities whatsoever. The fact that she buys rat poison to do away with her husband, who appears to have no grievous faults, doesn't help her case any. Michel Simon delivers a truly first-rate performance as the husband. You don't feel that he's justified in killing his wife, but you certainly don't feel any regret that he does. Guitry's script, which treats husband-wife relations as a joke to be ridiculed, is delightful in an extremely cynical way. Misanthropy at its finest - whatever that may be.

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I watched this movie again tonight, and I marveled - and laughed - at the cynical genius of so much of it. The script is often brilliant, yes, but it is Michel Simon who makes it all work. His every scene is wonderful, but the scene with the lawyer after he has killed his wife, and then the trial scene, are devastatingly marvelous. This is a movie that could have great success as an American remake, updated - but who now could play the Michel Simon part?

If you can deal with so realistic and cynical a view of human nature, you owe it to yourself to see this masterpiece. You may think you're cynical, but you will realize you have nothing on Sacha Guitry when it comes to cynicism.

I thought I'd emptied out the mine of great French directors and then just this week discovered Sacha Guitry and am both overjoyed at the riches on display in this film and bewildered at its lack of recognition. It's as good as any French film I've ever seen: why have I never heard of it before?

Everything about La Poison is charming, thoughtful, cheeky, brave and subversive, from the opening scene of the director walking about the set greeting and thanking everyone (literally everyone) that worked on the film to the hilariously frank courtroom scenes at the end, and every frame of Michel Simon throughout. My God, was there ever such an actor? Only the gorgeously hypnotic ugliness of Charles Laughton would seem to compare.

Like the films of Max Ophuls from the same time, Le Ronde and Le Plaisir, these are grown-up films dealing with God, Sex, Death and Existence with both incontestable beauty and brutal honesty at a time when practically all American film was made for children, and feel to me almost like an alternate timeline in which cinema developed without the censorship of the Hays production code of the 30s onwards, a cinema of genuine poetry and art winning out over puritanism and commerce.

The only American films I can think of from this time that are anything like comparable to La Poison are Chaplin's Monsieur Verdoux and Charles Laughton's Night Of The Hunter. Verdoux, a markedly inferior work to this one, got Chaplin hounded out of America for good and Hunter assured Laughton never directed again. Whereas the French loved their great artists and celebrated them for their minds and their magic.

I am reminded too, watching this, how much I prefer the savage and poetic French Old Wave to the empty faddish inanities of the Nouvelle Vague. I will happily take any 20 minutes of La Poison or La Ronde or Boudu Saved From Drowning over every single film by Truffault or Goddard.

This is a practically perfect film in every respect, and the only complaint I can really offer up is that the English subtitles of the two different versions I have found are both not as good as they could be, and with as deliriously barbed dialogue as this, where every line is saying something considered and integral, that's something of a crime in itself.

To complete the previous comment (which I agree), I will add that Michel Simon's (clever) machiavelism is to visit the lawyer PRIOR the killing of his wife(pretending he already did it),in order to know how to commit the "perfect" murder without being sentenced as much as possible; smart!

Maybe Sacha Guitry's most cynical movie about marriage. The famous Director/writer was an active womanizer and we may think that he was deceived by the female gender at this time (close to his death)and wished some revenge through this film (his young last wife -Lana Marconi- was supposedly interested in his money only and eventually sold his late husband's house in Paris to speculating promoters, only a couple of years after his death (the house was destroyed immediately to build a new building of no interest, whereas Guitry's last deep wish was to open a comedian's museum to exhibit his rarest manuscripts, costumes, theater memorabilia, etc.). What a pity!

The everyday life of Paul Braconnier (played by the famous Michel Simon) and his wife Blandine (Germaine Reuver) is far from what one would describe as a marital bliss. Paul Braconnier reproaches her that she's old and ugly and that she drinks too much. They hate each other as much as they possibly can - to the point that they want to murder each other. One day, Paul Braconnier hears about the champion lawyer Maitre Aubanel (played by Jean Debucourt) who just won his 100th case. Paul decided to promptly visit him to know how he can kill his wife without going to jail. Delighted to hear that murder without consequences is possible, he decides to stab his wife when she is about to poison him. With a lawyer like Aubanel, he is certain to get away with his crime. What follows is probably the funniest trial sequence in film history.

'La poison' is the funniest movie that Sacha Guitry made after WWII. As always in the work of Sacha Guitry, this story is a satire of marriage. This black comedy is delightful due to the performance of Michel Simon (once more!) in this role of a colorful rogue and to the high standard comical writing of Sacha Guitry. The name of the main character (Braconnier, which is the French word for poacher) was not chosen randomly: it is a description of the attitude that the main character has throughout the movie, i.e. that of a character behaving against the law. The tone of the movie is definitively anarchist and the character played by Michel Simon is not far from that of Boudu (another great performance by Michel Simon in 'Boudu sauve des eaux by Jean Renoir, 1932).

Guitry adds to our pleasure by introducing the complete credited cast during the opening sequence (much alike Orson Welles introducing his actors in the movie Othello and in the trailer of Citizen Kane) congratulating Michel Simon for his acting. Louis de Funes (at this time not as popular as he would be more than a decade later) can be seen in a small role. Pauline Carton (who played in most of Sacha Guitry movies) is present as well.

This movie is a gem. Highly recommended. 10/10.