Un'americana nella casbah

Satisfying, exotic American version of the French film "Pepe Le Moko" (which, I've heard, was distributed here in the U.S. under its French title, which means Pepe the Pimp, unbeknowest to the censors). Boyer leads the right star performance and Lamarr gets her ingenue role as the girl he loves but can't see outside of the Casbah. When the police try to arrest Pepe in the Casbah, he quickly disappears and they receive no cooperation from the locals. To lure him out of that district's confines, the cops set up a trap using the unknowing Lamarr as bait. their sad, brief romance ends, presumably, with his incarceration. Similar in plot, but not in tone, to contemporary "gangster" flicks.

Boyer doesn't actually say that, of course -- in fact, he never LEAVES the Casbah, so how could he -- but it's the general idea. I'm told this independently-produced Hollywood classic is almost a shot-for-shot remake of Duvivier's "Pepe Le Moko," from the previous year; I've never seen that one, but it's hard to believe Duvivier could have matched John Cromwell's fabulous production design, combining skillful backlot compositions with second-unit location projections, or the moody James Wong Howe photography, with the sweeping tracking shots capturing life in every corner.

The story may be no more than standard romantic hokum, but whether the filmmakers intended it or not, the movie has a wonderful existential melancholy, with Boyer's heavy eyelids viewing the world impassively, accepting his fate unquestioningly. Add to that a fine rogue's gallery of character actors (especially nice work from Gene Lockhart and Alan Hale), and you have brilliant Hollywood escapism. The judicious, sparing use of music (unusual in those Max Steiner days of underline-everything-with-a-melody) adds to the atmosphere. And it matters not a whit that Hedy Lamarr is not much of an actress here, or that every plot turn is utterly predictable.

I've seen this film countless times on tv, usually in the 1 a.m. time slot. Am always fascinated by it somehow. There's such an authentic atmosphere of the locale, very suspicious characters, intrigue and suspense both indoors and on the streets.

The suave Charles Boyer (as Pepe, the thief) certainly grips one's attention while he becomes more mired in the plot as it unfolds. Hedy Lamarr lights up the screen with her glowing beauty, one forgets she's supposed to be acting, but is that important? Of course not. I can't imagine the story having her engaged to marry an elderly wide-girthed fellow; my goodness, for her anything's better than that! There's a youngish Leonid Kinskey also appearing as a supporting actor, along with reliable Alan Hale (formerly Robin Hood's buddy, more or less) and Gene Lockhart, whom I've never seen in such a serious role as this one.

It's a movie that stands the test of time.

No, Charles Boyer never said, "Take me to the Casbah." That is just as false as "Play it again, Sam," a line from a film that will come to mind when watching this one.

Boyer (Conquest, Fanny, Gaslight) picked up his second Oscar nomination for this film. He plays a jewel thief that has found a haven in the Casbah in French Algiers. He has a hot girlfriend in Sigrid Gurie, but he sees Hedy Lamarr and it is all over. he falls head over heels and spends languid afternoon reminiscing about a Paris that he can never see again.

Director John Cromwell, who had his career ruined by McCarthy fascist in the 50s, did a very good job of presenting the excitement of the Casbah and the attempts by the French police to trap Boyer. He was ably assisted by the sets decorated by Alexander Toluboff (Stagecoach, Vogues of 1938) and the cinematography of James Wong Howe (The Rose Tattoo, Hud), who along with Toluboff received an Oscar nomination for this film, the first of ten in his career.

Just like Kong, it wasn't man, but beauty killed the beast. In this case, the beauty of Hedy Lamarr proved to be the death of Boyer in an ending that will again remind one of Casablanca.

It was made just one year after Duvivier's classic ,which even Godard (Godard!)mentioned in his "Pierrot LE Fou".Although I hate God'Art about as much as I love Duvivier,I must admit that a film that can transcend the New Wavelet's contempt possesses something magic a la "Casablanca" .

I was skeptical about the lead:aristocratic Charles Boyer replacing plebeian Gabin?I was wrong :Boyer,who began his career in France after all ,was up to scratch.And I 'd go as far as to write that Hedy Lamarr is much more attractive than Mireille Balin in the original.

All that remains is faithful like a dog: except for the scene when an old singer (Frehel) bursting into tears when she hears one of her old recordings,all the important sequences were kept.Cromwell's directing is efficient ,although it never recaptures the intensity (and the director's pessimism) of its model ,is a good film one can recommend to people who cannot get "Pepe Le Moko" .

Objections: the scene of Pierrot 's letter and the punishment of the informer is much too long and lacks suspense.Biggest gaffe is this ditty ("C'est La Vie" ) which Boyer sings and which seems out of a musical :in what is primarily a film noir,it's thoroughly incongruous.

Many of the great lines of the French classic can be heard ,notably the famous "I'm an informer,I'm not a hypocrite",and the Boyer/Lamarr pairing displays a special chemistry .The black and white makes a good use of shadows and lights.

If all the remakes were made with care like this one.....