L'Homme de Londres

Made in 1943, this film actually feels like a product of the early 1930s; the dialogue scenes are too prolonged. It's a strong Simenon story of a Downward Spiral based on one impulsive decision (with some shades of "Crime and Punishment); highly atmospheric, with good use of locations, but very heavy-going. Definitely not without interest, but also more than a bit of a drag. **1/2 out of 4.

This is the first of three film versions of the novel by Georges Simenon and for this viewer at any rate is of greater interest, coming as it does during a particularly rich phase in the career of director Henri Decoin and its ominous, doom-laden atmosphere reflecting France under the Occupation.

Although the film is very much studio bound the mist-shrouded sets by Georges Piménoff are brilliantly evocative of a seaport whilst noirish cinematography is courtesy of Paul Cotteret. It is topped and tailed by the haunting 'L'aventure aime la nuit' sung by an uncredited Nila Cara.

The sense of foreboding is further enhanced by the casting of Fernand Ledoux and Jules Berry, two superlative artistes who bring an enigmatic presence to whichever film in which they appear. The somewhat lugubrious manner of Ledoux and Berry's air of menace are used to great effect and both their characters are practically driven to madness by a suitcase containing three million francs which the former has found and which the latter is desperate to retrieve. Excellent support from Suzy Prim as a melancholy tart seeking that elusive 'tendresse' and Jean Brochard as an Inspecteur de Police.

Monsieur Berry was to be personally effected by the Occupation as his much younger wife, actress Josseline Gael, left him for a French Gestapo officer. She stood trial for 'horizontal collaboration', was stripped of her civil rights for life and never appeared on film again.

Subsequent versions by Lance Comfort and Belá Tar could not be in greater contrast!

One of the 30 (or 31 depending on whom you ask) produced by the Continental German firm during the occupation days in France ;the most prominent example is HG Clouzot's "le Corbeau" .

Why such a title? (Man from London) at a time when the German censorship was adamant: no hints at England !It was the reason why "L Assassin Habite au 21" was filmed in Paris whereas the novel took place in London! All that is "English" is the weakest link in Decoin's movie: the so-called English (Detective Mollison,Mr and Mrs Brown,Teddy) do not sound English at all,besides they never say a single word in their would be first language.The censorship was probably satisfied:anyway they could have called the film 'the man from Paris" ,the man in question being very Parisian Jules Berry.

But the movie is an exceptionally good film noir .A foggy atmosphere recalling Marcel Carné's "Quai des Brumes" (1938),a chanteuse wailing "Adventure likes Darkness...",and a Gabinesque character masterfully played by Fernand Ledoux.

Maloin has been working all his life for 2,500 measly Francs a month.One day he finds a case full of dough ,after watching a gangland killing."I 'd have to work a hundred years to make that!"he says.He could send his son to "Polytechnique" ,he could take his wife to the Côte d'Azur.He could escape from the third-rate position he holds in the harbor.He could leave behind his mean brother-in-law who's wearing suit and tie and is working in a bank (and thinks he's got it made).

But Maloin has an uneasy conscience:the film begins with lines of the Bible : "there are two roads: the wide one leads to perdition,the narrow one is not easy to follow,but it leads to happiness".His colleague always reads some pages of the good book before going to sleep.

A desperate movie,where man finds it hard to make ends meet ,but where you meet wistful prostitutes called Camelia in the low dives and generous human beings: the owner of the hotel,who does not want any money from Mrs Brown,the detective who tries to help the sinner.Decoin's follow-ups "La Fille du Diable" and "Non Coupable" won't feature such characters.Only darkness.