Le dernier des six

It's a Georges Lacombe 's movie,but actually, it marks the birth of a giant of the French cinema:Henri-George Clouzot.Here credited "Georges Clouzot",he wrote the dialogue,and his wicked sarcastic humor occasionally surfaces.

From Belgian Stanislas-André Steeman 's detective story "six hommes morts" (six dead men),it's really a very exciting thriller.Six friends go their separate ways during five years in order to make their fortune around the world.When they go back,some have succeeded,some have failed.But one of them covets the whole pile and is doing away with his former mates.To reveal more would be a real spoiler.Suffice to say there's a very good suspense sustained till the very end.

Not only Clouzot wrote the script,but he also provided the movie with a female star :his then-partner Suzy Delair.She portrays exasperating Mila Malou,detective Wens (Fresnay)'s girlfriend. The movie was a commercial success,and Clouzot became a director:his first movie was the wonderful "l'assassin habite au 21" (a must!a must!) which reunited Fresnay and Delair playing the same characters of another SA Steeman book.

The film company 'Continental' was formed and financed by the Third Reich with the intention of keeping French audiences sufficiently entertained to distract them from the minor annoyance of the German occupation. The thirty or so films that this studio produced during its four year run are of varying quality to say the least but there are a few gems, three of which involve Henri-Georges Clouzot and Pierre Fresnay.

Their first outing together is this adaptation of Stanislas André Steeman's 'Six hommes morts'. The 'credited' director here is the very capable Georges Lacombe although the mise-en-scene is untypical of his style. This, plus the German Expressionist shadows and chiaroscuro lighting would indicate that perhaps Clouzot contributed more than just the screenplay. What is certain is that Lacombe's contract with Continental was soon terminated, much to his relief.

This is the type of film that usually attracts the description 'style over substance'. Stylish it certainly is and played with esprit by all. The brilliant Pierre Fresnay is Inspector Wens and Suzy Delair is Mila Milou. Her character is extremely irritating and grates on the nerves but the chemistry between her and Fresnay is such that she becomes a perfect foil.

Great support here from the inimitable Jean Tissier and the fascinating Michele Alfa. Jean Chevrier does his best in a thankless role.

Personally speaking, the identity of the person who bumps off one character after another did not interest me in the slightest but the killer's comeuppance is imaginatively done. The highlights for me are the fabulous music hall scenes with superlative camerawork from Rene Le Febvre.

Clouzot went one better by directing his next film 'L'Assassin habite au 21', again based upon a Steeman novel in which Fresnay and Delair reprise their roles. The partnership of Clouzot/Fresnay looked to be set fair until the backlash that followed the release of 'Le Corbeau' practically scuppered both their careers. Both would resume of course but for Fresnay it seems, despite his gallant military service in WW1 and his superior talent, the stigma of 'alleged' collaboration with the Vichy regime would stay with him.

One of those excellent french films which were made initially to replace American movies whose import had been stopped by the Nazis, but still had a style of their own. Dandy actor Pierre Fresnay plays the part of the swift thinking, wisecracking police detective Monsieur Wens. The film also features lots of splendid actors of the 40's, such as Jean Tissier, with his irresistible drawl, as well as the suave André Luguet and young Suzy Delair who plays an extravagant girlfriend. It was adapted from a novel by belgian-born Stanislas-André Steeman, a prolific writer of detective stories with a touch of poetry, many of which were turned into atmospheric movies, such as "Quai des orfèvres" and "L'assassin habite au 21". The plot turns around six enterprising young friends who, having hit the jackpot, decide to divide it among themselves and set out to make fortune, each in his own particular way. They also make a youthful, romantic pact to meet again in five years time and share the fortune they hope to achieve. But when the time comes, they begin to be murdered one after the other… The imagery tends towards film noir; the oppressive atmosphere in Nazi-occupied France lends itself ideally to the aesthetics of film noir ; the whole country seems to be perpetually at night, in shadows or in fog and the film climax takes place in a labyrinthian quarry. In contrast, the dialogues are often witty and amusing, for instance when Monsieur Wens has a drink with a suspect in one of those smoky, underworld parisian café with jazzy accordeon music playing in the background : the detective casually inquires over the little ruffian's alibi through a colourful discussion over how the latter makes a living at the races. The pacing of the film is good, except for a lenghty cabaret sequence which is a mixture of moulin rouge (with some nudity daring for the time) and surreal reverie.