Le roman d'un tricheur

This was such an enjoyable experience and a surprise considering its vintage of 1936. Mainly told via narration it never loses its charm and humour as the elderly cheat from the film's title writes his memoirs, and the audience is shown the eventful moments in flashback. The Director also was writing and staring in the film, as the main character in his later years, The young actor playing the tricheur as a young boy of 12 years was the most adorable version of the character, for me, followed by the older man. This is a film you have to see if you can, either via BluRay or DVD or via the Criterion Channel streaming service.

As others have mentioned here, the films of Sacha Guitry seem to have sunk into oblivion in the English speaking world, which is odd since at their best they share much of the same quality and charm as those of Ernst Lubitsch or Max Ophuls, both of whom are still spoken of with deserved reverence.

This one might be the most well known of his films, for what that's worth, and is a similar story to Lubitsch's wildly overpraised but markedly inferior 'Heaven Can Wait' - the memoirs of an old rogue's misspent youth. It's a boon that Guitry, working outside of Hollywood censorship, could be much more frank about what his rogue actually got up to - the great weakness of Lubitsch's later film.

Much of this film is in fact silent, with Guitry's witty narration being the only speech. There is an excellent performance by Serge Grave as the young Cheat. The best scene is the one where the old Guitry runs into the now elderly Countess whose younger charms he has just been fondly reminiscing over. His discomfort is hilarious.

This is not my favourite of Guitry's films - that would still be La Poison - but it's a patchy and a whimsical delight nonetheless. And really, I'm just glad to have discovered all of them.

I can only approve of my old pal Writer's Reign 's opinion ,who for a change wrote the very first comment."Le Roman d'un Tricheur" is an unique work ,which tends to make a reductio ab absurdum : what 's the point of being honest if honest people are chastised.

So much for the prelims: a young boy was born a very big family :12 persons in all;as he had stolen some money,he was punished and deprived of mushrooms! But they were poisonous mushrooms and the whole family but the naughty brat went to their grave .So what's the point of being honest? The whole story is told by a voice over;the form was totally new since the actors did not act ,they just mimed ,like some kind of tableaux vivants.The only scenes (two) where you find a real dialog are the ones between the hero (Guitry ,of course) and Marguerite Moreno's countess.

This is a short film (barely 80 min) but Guitry 's story is dense and includes an attempt against the life of Russian tsar Nicolas the Second , a lesson of geography about Monaco , a trip to the casinos (royale or not)where the hero tries his luck with mixed results , WW1,a sneak thief -whose methods would make Conan Doyle and Agatha Christie admire the lady-,and more ...

Guitry was often criticized in France ;they said he had an unbearable ego .Completely true:that's what made his movies so exciting.

Cahiers du Cinema classed this as one of '100 most important films' which is high praise indeed. It is years ahead of its time and has aged like a good wine. It is the first film to use a voice-over narration and Sacha Guitry has introduced his actors and technicians on camera thereby dispensing with traditional credits. This respect for and appreciation of the talents at his disposal is evident in his subsequent films. Guitry has adapted this from his own novel and within its eighty minute length is inventive, absorbing and entertaining enough to be rightly considered one of his best films. Marguerite Moreno is great as the Countess, there is the glorious voice of chanteuse Frehel and a brief appearance by Roger Duchesne as an anarchist. He went off the radar after the War amid 'allegations' of collaboration but resurfaced in 'Bob le Flambeur'. The art direction by Henri Menessier is superlative. Guitry was essentially a man of the theatre and his films have been described as 'anti-cinematic'. There is some truth in this and the staginess, verbosity and over indulgence of his later films are inclined to test ones patience but there are also moments of genius. He was an artiste whose devotion to his craft cannot be overestimated.

Although Sacha Guitry acted in London in 1920 he remains practically unknown and/or forgotten here as, I would venture to guess, he is in the United States. One of the better Art Houses in Paris ran a mini season of his movies a couple of years ago but even in France he is a spent force. This is a pity because he had a great deal to offer to both stage and screen. A prolific playwright who authors close to one hundred plays and has them performed clearly has something to offer and even allowing for changes in taste and fashion it remains an impressive track record. It's difficult to find an English comparison; Gerald du Maurier was roughly contemporaneous but he only acted and never wrote a line, Peter Ustinov WAS an actor-director but began his career when Guitry was entering his final phase. The Cheat dates from 1936 and is considered in many quarters to be Guitry's finest film. I haven't seen enough titles to say yea or nay but this is certainly a charming and stylish entry. For 1936 Guitry could be said to be ahead of his time by introducing us in the very first frames not only to his cast - and even here it is far from a standard 'still' and a name; he opts for playfulness, 'where is .... ' and calling until the actor/actress emerges to take a bow - but also to his technicians from camera operator to sound recordist, composer, and film editor. At the end of all this he begins his story - in a manner later 'borrowed' in 'Kind Hearts And Coronets' - by sitting at a cafe table, producing pen and paper to which he commits his 'memoirs'. Although we cut back to Guitry at his cafe table several times his story is told largely via his narration and follows his career from the time his entire family - all eleven members - expire after eating mushrooms picked earlier that day which turned out to be toxic and from which he, as a ten-year old is forbidden to partake as a punishment for his earlier 'stealing' a few sous from the till in the family shop. The boy draws a moral lesson from this incident namely, it doesn't pay to be honest, and then he is off and running to a career of conning and cunning. It is, of course, all done with style and charm, in fact we would have to wait for Cary Grant to replicate these qualities to the same degree in the vastly overrated piece of cheese 'To Catch A Thief'. It's unlikely that film buffs in the UK or US will have the opportunity to catch this unless it appears on video/dvd one day, as they say in France, quel dommage. 7/10