IMDb रेटिंग
6.5/10
1.3 हज़ार
आपकी रेटिंग
अपनी भाषा में प्लॉट जोड़ेंBorn in a French prison in 1775, François Eugène Vidocq becomes a professional thief and is later appointed chief of Parisian police.Born in a French prison in 1775, François Eugène Vidocq becomes a professional thief and is later appointed chief of Parisian police.Born in a French prison in 1775, François Eugène Vidocq becomes a professional thief and is later appointed chief of Parisian police.
- निर्देशक
- लेखक
- स्टार
Gisela Werbisek
- Aunt Ernestine
- (as Gisella Werbiseck)
Barbara Bates
- Girl by Pool
- (बिना क्रेडिट के)
George Bruggeman
- Stage Show Spectator
- (बिना क्रेडिट के)
फ़ीचर्ड समीक्षाएं
I was already a fan of George Sanders - but this film really gives him the witty language that he can spin under his breath better than any actor in movies. The story itself is far more interesting in its twists and turns than expected. Listen carefully - and you hear real style and imagination.
A kind of anti-Les Miserables, this sophisticated period comedy inverts conventional morality, following a thief/scoundrel as he rises to become the chief of police of Paris. This makes an ideal showcase for George Sanders at his peak of suavity, which he maintains even in a blond wig while posing for a portrait of St. George [this evolves into a theme of the film: "In all of us there is a St. George and a dragon"]. Naturally, Sanders effortlessly spins aphorisms: on adultery, he murmurs, "Sometimes the chains of matrimony are so heavy they have to be carried by three".
Very much a production of displaced Europeans [Sirk, Shuftan, Eisler, Pressburger], the story celebrates a continental tolerance ["No man is a saint"]. Douglas Sirk clearly enjoys the subversive charm of the criminal mind which stays sharp by exploring all the possibilities for larceny. However, Sirk is not cruel: the provincial victims are not buffoons; they are just not sharp enough to see all the angles in each situation. He does not mock the cheerful dowager [Alma Kruger] who is eager for more adventurous company, and even the bumbling cuckold [Gene Lockhart] is ultimately touching when he disguises himself as a canary-merchant.
Like its contemporary, Renoir's DIARY OF A CHAMBERMAID, this sometimes seems like a European film trapped in Hollywood. However, while the first hour sometimes strains to be "naughty" [as in a decorous skinny-dipping scene], Sirk is able to unify the tone more successfully than Renoir. If Signe Hasso seems a bit old [at 30] as the wide-eyed ingenue, and Carole Landis struggles through her music hall number, Sirk guides both of them to satisfying moments, justifying their casting. The plot involving a garter made of rubies, a monkey called Satan, and a Chinese carousel with a giant Pekinese to ride -- develops increasingly clever and surprising twists, to a pleasing conclusion.
Very much a production of displaced Europeans [Sirk, Shuftan, Eisler, Pressburger], the story celebrates a continental tolerance ["No man is a saint"]. Douglas Sirk clearly enjoys the subversive charm of the criminal mind which stays sharp by exploring all the possibilities for larceny. However, Sirk is not cruel: the provincial victims are not buffoons; they are just not sharp enough to see all the angles in each situation. He does not mock the cheerful dowager [Alma Kruger] who is eager for more adventurous company, and even the bumbling cuckold [Gene Lockhart] is ultimately touching when he disguises himself as a canary-merchant.
Like its contemporary, Renoir's DIARY OF A CHAMBERMAID, this sometimes seems like a European film trapped in Hollywood. However, while the first hour sometimes strains to be "naughty" [as in a decorous skinny-dipping scene], Sirk is able to unify the tone more successfully than Renoir. If Signe Hasso seems a bit old [at 30] as the wide-eyed ingenue, and Carole Landis struggles through her music hall number, Sirk guides both of them to satisfying moments, justifying their casting. The plot involving a garter made of rubies, a monkey called Satan, and a Chinese carousel with a giant Pekinese to ride -- develops increasingly clever and surprising twists, to a pleasing conclusion.
George Sanders as Eugene Francois Vidocq, a clever French crook (and a very flimsy representation of the amazing real-life template), is both the lead actor and narrator of this film in which he neatly swindles his way from a lowly prison cell to the top of French society delivering a bounty of aphorisms along the way. The real-life Vidocq began as a rough-and- tumble child criminal and ended up a government minister.
Sanders basically delivers the same polished performance seen in numerous other films, from "Man Hunt" (1941), through "The Picture of Dorian Gray" (1945) and "All About Eve" (1950): the cool, cultivated, continental, dry wit with just the right suggestion of the animal beneath. Carole Landis, in what may be her finest role, is both funny and chilling as a self-centered show girl who blatantly uses her beauty to catch wealthy men. Signe Hasso (who looks distractingly like Margaret Sullavan) plays the daughter of the minister of police; she falls in love with Sanders but is as lifeless and damp here as she is vivacious and crackling in "The House on 92nd Street," made the year before.
The film is obviously 100% studio made, with painted backdrops to represent the French countryside. But since scenery is not the point here, this drawback can be overlooked. It's an unusual film about an extraordinary man, here reduced to a sort of Sherlock Holmes who strides both sides of the law.
Sanders basically delivers the same polished performance seen in numerous other films, from "Man Hunt" (1941), through "The Picture of Dorian Gray" (1945) and "All About Eve" (1950): the cool, cultivated, continental, dry wit with just the right suggestion of the animal beneath. Carole Landis, in what may be her finest role, is both funny and chilling as a self-centered show girl who blatantly uses her beauty to catch wealthy men. Signe Hasso (who looks distractingly like Margaret Sullavan) plays the daughter of the minister of police; she falls in love with Sanders but is as lifeless and damp here as she is vivacious and crackling in "The House on 92nd Street," made the year before.
The film is obviously 100% studio made, with painted backdrops to represent the French countryside. But since scenery is not the point here, this drawback can be overlooked. It's an unusual film about an extraordinary man, here reduced to a sort of Sherlock Holmes who strides both sides of the law.
This film is excellent! I don't understand why anyone would call this the "nadir" of Sirk's career, as it is far more intelligent than any of Sirk's famous melodramas. While I enjoy those films, this remains my favorite Sirk picture. The story chronicles the misadventures of pretty rascal turned gentleman thief, Eugene Vidocq, played by the eternal screen cad George Sanders. This is one of Sanders' best caddish roles, as he sidles around chateaux and graveyards, uttering lines such as "sometimes the chains of marriage as so heavy they must be carried by three". In addition to the witty, frothy humour, there is a dark undercurrent to the film that is evidenced in its noirish photography and the amorality of the lead characters. High recommended to fans of Old Hollywood who enjoy the more eclectic films of that period!
I love George Sanders; he is actually my favorite actor of all time; and that is quite a list I have. His droll, sarcastic delivery made even the most mundane line of dialogue crackle with wit. There has not been an actor before or since who could do romantic comedy or even romantic drama as well. Cary Grant came close, as did Errol Flynn, but they both took a back seat to Sanders. There is no such thing as a romantic lead that could hold up against him; no female actress could come close to his delivery of lines. Bette Davis was about as close to him as any great actress could get; but even she paled in comparison when he was delivering lines on the big screen. This silly story of the 18th century France could have been set in any century or time period and Sanders would still have made it work. The rest of the characters are quite forgettable, but people will remember this film just for Sanders.
क्या आपको पता है
- ट्रिवियाThe real Francois-Eugene Vidocq, 1775 to 1857, was born and died in Paris. He was an adventurer and a brash youth who spent time in frequent jail sentences, mostly for petty thefts. He served admirably in the army and fought in early battles of the Revolutionary Wars in 1792. He was hired by the government in 1809 for his experience and knowledge of crime, and helped create the security police (Police de Sûreté) in France. In 1832 he was fired for allegedly planning a theft, and he set up the very first private police agency. That became the model for modern private detective firms. He is considered by historians to be the "father" of modern criminology and is credited with the introduction of undercover work, ballistics, criminology and a record-keeping system to criminal investigation. He made the first plaster cast impressions of shoe prints. He created indelible ink and unalterable bond paper with his printing company to combat forgery. Several books, including Mémoires de Vidocq (1828-1829), Les Voleurs (1837), and Les Vrais Mystères de Paris (1844), were published under his name but may have been ghost-written by others. In later life, Vidocq published two volumes of his memoirs. According to the Encyclopedia Britannica, he was friends with several leading authors of the day - Hugo, Balzac, Dumas and others.
- गूफ़Vidocq is seen reading the memoirs of Casanova at the time of Napoleon's Egyptian campaign (1798-1801). The memoirs were not published until 1822.
- भाव
Eugéne François Vidocq: Sometimes the chains of matrimony are so heavy they have to be carried by three.
- क्रेज़ी क्रेडिट[prologue] Vidocq, Eugene Francois, born 1775, spent the first thirty years of his life in every kind of villainy, probably as a preparation for the work of detecting criminals which was to occupy the remainder of his life. He published two volumes of what purported to be the true history of his adventurous career...Encyclopedia Britannica.
- कनेक्शनReferenced in Le cavalier de Croix-Mort (1948)
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
- How long is A Scandal in Paris?Alexa द्वारा संचालित
विवरण
- चलने की अवधि1 घंटा 40 मिनट
- रंग
- पक्ष अनुपात
- 1.37 : 1
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