Maria de la nuit

Jacques Reinold, a deserving and hard-working man, is wrongly accused of running over a passerby. Without any proof, he is convicted of negligent homicide.

Not only willy Rozier directed this melodrama,but he also wrote the screenplay and the lyrics to the song the femme fatale performs in her dodgy cabaret ; there are so many coincidences in this film that you cannot take it seriously: the gamekeeper's badge has disappeared and is stuck in the motor of a car; fortunately,the judge who sentenced the unfortunate young man of means and thus forced him to escape to Spain is a hunter and he uses the car : it's his downfall ; his ne-er -do-well son run over the ill-fated gamekeeper; after his death ,his daughter goes in search of the innocent victim of blind justice ,but since,he's become some kind of kept man (or pimp) ,really smitten with gypsy Maria .

But thanks to the pure blonde girl, the fallen young lad will come back to the straight and narrow ;a story of redemption, like in Rozier's later "le bagnard" (1950)

Another personal project by Willy Rozier, who directs, writes the script and lyrics, and edits the film, but is once again left out of the cast, which includes names such as Paul Bernard (who did, among others, Les Dames du Bois de Boulogne by Robert Bresson, Lumiére d'eté by Jean Grémillon and Mon Pére Avait Raison by Sacha Guitry), Henri Bosc (from Hotel du Nord by Marcel Carné or Mayerling by Anatole Litvak), Pedro Elviro (a regular collaborator of Cantinflas) and Gina Manès, in the role of Maria (who also played Mayerling by Anatole Litvak, with Charles Boyer and Danielle Darrieux), not forgetting Monique Rolland, who starred in The Testament of Dr. Mabuse by Fritz Lang.

Demonstrating versatility, Rozier turned, this time, to melodrama. A complex plot, involving honor and a sense of justice, maternal love and moral perdition in the alleys of Barcelona at night. A heavy theme, interesting from a historical and sociological point of view, but frankly dated, in artistic terms.

On the other hand, it demonstrates greater maturity and rhythm in the direction than in N'épouse Pas Ta Fille, which was only the second film directed by Rozier.

Positive note but without much recommendation. Interesting, but too moralistic and dated for 21st century audiences.