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Prolific writer Georges Simenon has understandably been a fertile source for film-makers and this is the third film directed by Henri Decoin based upon one of his novels.

This is indisputably one of this directors most accomplished films and provides strong roles for two of France's finest, Jean Gabin and Danielle Darrieux, formerly married to Decoin.

By means of flashbacks this harsh and cynical piece chronicles a marriage that is doomed from the outset as Bébé has married for love whilst Francois has done so for convenience. He continues to have mistresses most of whom are cheating on their husbands. The couple have a child that proves to be no compensation to her and in order to end her unhappiness she resorts to drastic measures. Even though Francois reveals his true feelings for her it is too late for them both........ One of Simenon's strengths is of course his acute psychological penetration which raises this story above the level of 'pure melodrama'. The performances are splendid and one is especially impressed with Gabin who excels as a thoroughly detestable character whose 'redemption' at the end would be risible in the hands of a lesser actor. The transformation of Bébé from joyous young bride to embittered wife is beautifully depicted by Mlle Darrieux. Mention must also be made of Grand Dame Gabrielle Dorziat as a society 'matchmaker'.

Superlative production values, fabulous cinematography by Léonce-Henri Burel and a haunting score by Jean-Jacques Grunenwald all contribute to a film that is both classy and first class.

The Donge brothers are entrepreneurs of the unsophisticated sort. Their many businesses involve tanning, pig farming, and cheese making. They marry two sisters and both couples seem, on the surface at least, happy. François and Bébé never fight or even disagree, but one Sunday she slips arsenic into his coffee and calmly awaits the results. François survives, but his life is in pieces. The enigmatic Bébé, the egocentric François, his loyal brother, his delicate son, his gossipy sister-in-law, and his enormous mother-in-law are all wonderfully drawn in a distinctive manner. The theme here is the absolute failure of people to understand each other. As the story proceeds, Francois is revealed as a self-absorbed lowlife who treated his wife appallingly, engaged in repeated infidelities and neglected their child. Had the abused spouse reached the end of her tether? I did like "La Verite sur Bebe Donge" - it reminded me of Mauriac's "Therese Desqueyroux", which is a twentieth-century literary classic. Covers similar themes. The only mystery here is how is it possible for a man to destroy a human being -- his own wife -- without even noticing. Until, that is, she attempts to kill him.

Ambitious,not always successful,this Decoin film is adapted from George Simenon. It's a long flashback,mixing present and past with occasional gaps.The black and white cinematography is thoroughly mastered:Danielle Darrieux, all dressed in black(and beautiful), like a death angel, visits her dying husband with a pallid face in a white room.Another shot, before the end, shows a car disappearing in the darkest night.

Bebe Donge is a romantic woman, a "Madame Bovary",who believes in true love. She does not realize that, in the bourgeois world which she lives in, these values are no longer in use.Her husband (Gabin) is cynical and does not even try to hide his lovers.In 1951,for the bourgeoisie,divorce was unthinkable:the wedding ceremony, with great pomp meant, for these hypocrites, that what the lord joined together, the world must not undo. So Darrieux ,who was a charming young woman, becomes a murderer. There was nothing to suggest that such a disaster might happen .

Although not as good as "non coupable" with Michel Simon,"la vérité sur Bébé Donge" is eminently watchable and will reward you as much as, say, a Godard movie.Or surely more...

If you're going to get poisoned to death you'd surely rather it was by something hidden in the powder compact of the beautiful Bébé (Danielle Darrieux) than by a meal of bad oysters, but try telling that to craggy victim François Donge (Jean Gabin).

After an initial Turkish Delight-based encounter, Bébé falls for tannery-owner Donge and his rough vernacular charm. He marries her at the behest of his mercenary mother to add a bit of gloss to his brand. Bébé hopes that he will learn to love, to be a couple, but no, he is just an amoral, transaction-minded philanderer.

So here we are ten years later with Donge lying in a private clinic, his life in the balance, visited by a black-clad, emotionally dead Bébé. Around them, a compromised doctor, his staff, the examining magistrate, Donge's brother, all with decisions to make. If he lives, they could just say it was oysters...

And so we wheel between past and present. The marriage goes through the motions. Which is something Donge can't do now so to speak. His condition reaches its crisis. Bébé stares unblinking at the truth.

Two superb performances from Gabin and the luminous Darrieux. Don't skip a minute of it.