La poison

Guitry could never get over the way he was treated after the Liberation;his "De Jeanne D'Arc A Petain"(1942) (see this title which is never screened on French TV) was not exactly a work longing for freedom and the fact that he was given coal for his town house by the occupying forces led him to a (brief) internment.

Some of his post-war works are bitter,even cynical and made French justice an object of ridicule .If Guitry had been a mediocre director/writer ,his latter days works could have sunk into oblivion ,the work of an aging embittered old duffer ;but Guitry was a master ,with wit ,humor and (yes) genius going for him .At the time,only Henri Jeanson could write as well as he did .

"la Poison" begins with a presentation of all the people who made the movie (proof positive that Guitry was neither self-centered nor ungrateful) ;it was not the first time he had done this ,but this time ,he speaks with the actors,the technicians ,the script girl and it lasts about five minutes .Guitry was the one director in France to show such respect for his collaborators.

It was the first time he had directed Michel Simon ,who is another genius ,one of our five best actors ever .They would team up again in another Guitry's masterpiece ,"La Vie D'Un Honnête Homme " -for the record ,Louis De Funès ,who has a small role in "Poison" ,is in that movie too-If they would redo (God preserve us!) ,I really wonder WHO could reprise this part.Simon is so subtle an actor he is able to show all the tragic side of his character ;the scenes when he eats his dinner with his missus ,an alcoholic shrew, with the radio on so they do not have to talk are sheer genius .

Even the scenes which would seem at first out of place are necessary : the villagers waiting for a miracle,asking the vicar for help ("I can only pray ";and God heard him and took heed of it)At the time , the vicar ,with his servant (La Bonne Du Curé) played a prominent part and he was the local shrink ;Simon visits him before consulting a lawyer.

All the scenes featuring the lawyer are Guitry at his very best ;if you are sick and tired of those movies in which the brilliant lawyer always wins ,"La Poison" was made for you.Reductio Ad Absurdum that justice is unfair and that if you want to be acquitted ,you need a piece of advice from the man of law before you act .As if it were not enough,the children have their own trial too.

Guitry's hatred for justice is even more glaring in his overlooked "Assassins Et Voleurs" .People who liked "La Poison" must see it too.

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.

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.

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!