L'étoile du Nord

With a keen eye for character and emotion, Granier-Deferre directs "L'étoile du Nord", a film that explores the complex relationships and social realities of its era. The film unfolds with sensitivity and insight, creating a captivating and poignant story.

Simone Signoret gives a stunning performance as Edith, a lonely woman who finds strength in her resilience. Philippe Noiret matches her intensity as Victor, her aloof and troubled brother. Their relationship and their shared history are revealed through flashbacks, adding layers of intrigue and depth to the story.

Fanny Cottençon plays Juliette, a young and innocent woman who contrasts sharply with Signoret's character. The interactions between the three characters are nuanced and rich, creating a vivid emotional landscape for the film.

The film also impresses with its subtle visual storytelling. The cinematography is superb, capturing the mood and the details of the setting and the time period. The film's slow pace may not appeal to some viewers, but it serves to highlight the character development rather than a conventional plot. This is a film that rewards those who appreciate subtle and personal storytelling.

"L'étoile du Nord" showcases Granier-Deferre's talent for conveying powerful emotions through a delicate narrative and outstanding performances. This film is a must-see for fans of French cinema and for those who enjoy deeply human stories.

Considering the main cast (Philippe Noret, Simone Signoret) and other names involved (music by Philippe Sarde, story by Georges Simenon), "L'Etoile Du Nord" has to rank as a major disappointment: talky, plodding, interminable. This is short-story material obviously padded to over two hours! It probably takes longer to watch the film than to read the book. But it IS handsomely photographed (especially during the Egyptian flashbacks) and beautifully acted; Noiret gives another masterful performance as a man who tells so many tall tales, and does it so charmingly, that even he doesn't know what's true and what's not anymore. ** out of 4.

End of the line for Simone Signoret.And unfortunately,not one of her best ,by a long shot.Granier-Deferre was never a great director ;he continued the cinema de qualité tradition.His closer relative is certainly Jean Delannoy-who did a better job with Simenon's books :his two late fifties Maigret are brilliant.Like him,he's icily impersonal ;that's why French critics -in spite of some moments of inspiration:"le chat" " la veuve Couderc" and his overlooked "une étrange affaire" ,probably his finest hour-never hailed him as an "auteur" .

The first part is almost entirely Signoret-less and ,as Fanny Cottençon is totally bland (acting like a Barbie Doll),the audience desperately relies on Noiret.When Signoret's part becomes more important,as the movie progresses,the film begins to hit its stride.But it remains listless .Granier is unable to make Signoret's house's guests interesting:Clouzot ("l'assassin habite au 21" ) and Duvivier ("la fin du jour" ) ,Granier-Deferre cannot hold a candle to both of them.Only Signoret's fans need bother.But I guess they are numerous so...But if they have not seen "manèges" ,"diabolique" or (her triumph!) "Casque d'Or" ,do not think twice.

I don't agreed with Mr. Maltin's comment of this film saying is talkative and boring,he disqualify a very interesting film in very simple terms. It's true sometimes the characters could be more develop, but it is a very absorbing story very well told of the relationship of two very oppose personalities and how the character of Signoret come to create such a fondness and friendship for Noiret, even when she finds out he is a liar, and a murderer, and a thief. I think it is a very valid film and highly recommended, specially for fans of the marvelous Signoret. It was her last film.

I was left wondering what Tavernier or Resnais would have done with this story. Or Delannoy or Autant-Lara, or... I found Granier-Deferre's film to be visually sumptuous, thanks to Dominique Andre's art direction and Pierre-William Glenn's cinematography, but it left me emotionally cold and indifferent. The acting is splendid: Simone Signoret and Philippe Noiret do very well, and Fanny Cottencon and Julie Jezequel as Signoret's daughters are effective. The constant cutting back to Egypt and the postcard scenes of souks and pyramids was a wonderfully jarring device. But the visual effects can't make up for the coldness of the directorial approach.