Reign of Terror

Out of the chaos and carnage of the French Revolution, Anthony Mann fashions not a sweeping historical epic à la A Tale of Two Cities but a tight and shaded suspense story. His gifted collaborator is director of photography John Alton, whose preference for the murky suggestively limned with light was never so evident as in his work here, in country inns and the cellars of bakeshops and the cobbled pavements of torchlit Paris.

The plot centers on Robespierre (a peruked Richard Basehart), who has embarked on a spree of mock trials and executions of his rivals in preparation to having himself proclaimed dictator; he's just disposed of Danton. A less than adulatory element loyal to the ideals of the newly formed Republic, but not to its current leaders, aims to stop him. One of their operatives (Robert Cummings) infiltrates Robespierre's inner circle by posing as the `butcher of Strasbourg,' a regional tyrant as bloodthirsty as Robespierre himself.

But in the circle of men closest to the power of the state, trust is a commodity in short supply; they watch their own backs and scheme to stab each others'. It's Cummings' job to negotiate this maze of duplicity and locate Robespierre's `black book,' in which he records neither his amatory conquests nor vintages he's sampled but his next victims. Exposure of this book will mean Robespierre's downfall. With the aid of proto-Bondgirl Arlene Dahl, Cummings races the clock in a round of near-fatal wild goose chases.

Reign of Terror remains a costumed adventure – a chase movie – but Mann paces it swiftly and slyly. And, fresh from some ground-breaking work in film noir, he and Alton give it a compellingly sinister look. Most period pieces are lit as if on the equator at high noon; this has to be the inkiest costume movie ever filmed (even Charles McGraw, as a bearded soldier of the Republic, goes all but unrecognizable). The darkness doesn't limit itself to the lighting – the script, by Aeneas MacKenzie and Philip Yordan, rustles with ambiguous motives and queer twists. There's even an ironic note of premonition sounded at the end, when the slimy survivor Fouché (Arnold Moss), asks the name of a young soldier. `Bonaparte,' comes the answer. `Napoleon Bonaparte.'

Robert Cummings (D'Aubigny) goes undercover to end the reign of terror that has gripped France after the revolution in the C18th. Richard Basehart (Robespierre) is about to pronounce himself dictator. Basically, he likes cutting people's heads off and he really likes it a lot. He has a black book with the names of everyone who he'd like to execute, and this book is the key to his downfall if it were to fall into the hands of the French people. Can Cummings and fellow Freedom Fighter Arlene Dahl (Madelon) prevent Basehart from realizing his dream?

An enjoyable film which moves along quickly so pay attention or you'll get confused, especially at the beginning. Then you can just roll with it and enjoy the tense scenes that turn up along the way. A good example is when Cummings is about to come face to face with his supposed wife, who will obviously betray him by not recognizing him. This is because Cummings has taken the identity of her husband and Basehart and his cronies are watching her reaction and are ready to arrest him at the slightest indication of non-familiarity. There is a bit of unnecessary violence at the film's end but I guess they wanted to show what was really happening. Someone certainly isn't going to talk anymore.

The cast are all good - especially Arnold Moss (Fouche) in a very creepy role. Can he be trusted by anyone? I like the film's ending where a soldier with his back to camera announces his name to Moss after a brief word about the future of France. What a shame that the quality of the film isn't that good.

If you ever wanted to see period piece filmed with great economy, I'd recommend that you check out this movie.

The sets are amazingly bare. But with a few well-placed ornate props, and some smart lighting, creating lots of shadows - the small budget never calls attention to itself.

Don't forget, Anthony Mann shot this shortly after the noir classics T-MEN (1947) and RAW DEAL (1948). REIGN OF TERROR has that same hard-hitting gritty crime movie feel.

Historically inaccurate, perhaps (Maximilien Robespierre is referred to as "Max".) But a fun flick nonetheless.

There isn't anything happening in the plot to this little gem that hasn't been seen in at least 6 or 7 other films dealing with this time period.The difference,however,lies in the treatment.The other movies usually paint the protagonists in bold colors,emphasizing their dash,flair,attractiveness,and nobility,while the leaders of the reign of terror are seen as savage,cruel,inhuman,bloodthirsty,and psychotic savages.Well,they still are in this film,but the hero and heroine also show some pretty dark,sinister aspects as well.So,the good guys aren't the kind we're used to seeing. The pleasent surprise is seeing more versatility from both Cummings,and Dahl.We're so used to seeing them,especially HIM,as rather shallow,lightweight,and frivolous characters on so many sitcoms and comedies.It would have been a nice treat to have had more opportunities to see them do films of this nature.

This is a low budget masterpiece, far more intriguing and suspenseful than most epic films dealing with the same subject. The film noir quality and acting are superb. As mentioned earlier, T-Men also made by the low budget studio Eagle-Lion, were and are memorable films. The cast is first rate . Robert Cummings, Richard Basehart, and Charles McGraw are standouts.

Thank goodness for Turner Classic Movies... it had been many years since I had seen it for the first time on television. Thanks to DVR I was able to record this film when it was played on TCM recently. This movie shows that with good acting, literate dialogue, and a great screenplay are what makes for an entertaining movie, which are in short supply today which too often offer computerized graphics, amateurish acting, and repetitive and crass dialogue instead. Kudos to Anthony Mann and the cinematographer for a great movie.