Vidocq

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.

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.

Romanticized and not entirely historically accurate, but nevertheless an entertaining movie about Eugene Francois Vidocq, (based on his memoirs, which were probably not entirely accurate either) who goes from thief to Chief of Police in Paris, with quite a lot of adventure in between. (there's a funny scene where he's posing in armor on a horse, for a portrait of St. George, then steals the horse and runs off, later committing another theft by stealing a bejeweled garter from a lovely singer/gold digger, played by Carole Landis. Meanwhile, his portrait is admired by Theresa (Signe Hasso), granddaughter of the Marquise de Pierremont, who soon falls for the real man.

There's a couple of touching scenes. In one, Eugene tells Teresa the difference between her and Loretta, is that in Loretta's eyes he sees the man he is, but in Theresa's, he sees the man he could be. In another, Theresa steals some jewelry (ones that will belong to her anyway) to let him know that she'll love him no matter what, and wants to be part of his life, even if it means becoming like him.

I won't give away any more details, except to say that Jo Ann Marlowe gives a great performance as Theresa's precocious little sister, who tells Eugene she knew all about him from the start.

A fun movie!

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!

The movie is totally Sanders', and one of his finest--certainly one of his finest NON-supporting roles. BUT, it is also Landis's finest performance--her Flame Song is beautifully performed and foreshadows [sic--in both sense of the term]her final demise. See it for Sanders, who is always so worthwhile, but see it for Landis--at her peak