La nuit du carrefour

Although Jean Renoir is a highly acclaimed director, I found his "La Nuit Du Carrefour" to be creaky, dull, muddled, and slow-as-molasses. I had serious trouble following who is who except Maigret, and even Maigret himself seems to be fumbling most of the time. 1 very impressive minute of a POV car-chase cannot redeem the other 69. *1/2 out of 4.

At a small, outlying suburb of Paris that seems to be three houses, a butcher shop and a garage or two, a corpse is found in a car. It's a Jewish diamond merchant from the Low Countries. The police are soon sweating the owner of the garage, George Koudria. He is an exiled Swedish aristocrat who lives in one of the houses with his sister, Winna Winnifred. Enter Inspector Maigret in the person of Pierre Renoir, the brother of the movie's director, Jean Renoir. Koudria does not crack, and he is sent back to his home. He flees across the border, while Maigret wanders around, asking question that have nothing to do with the events, watching and listening.

Renoir (the director) made this film between LA CHIENNE and BOUDU SAVED FROM DROWNING. Those films would seem more typical of his movies, with this one an odd outlier, a potboiler to offer some income and prove he is a bankable film maker. I found it fairly typical of his works in which relationships are unclear and it is up to Renoir (the actor) to winkle them out for the audience. You may look on it as a try-out for THE RULES OF THE GAME with murder, and Simenon's name to add to the commercial value of the effort. It's a fine, atmospheric movie, if you ignore the simple matter of the mystery.

The problem I have with the mystery is that there is a perfectly good and simple explanation of who did it up to the point where Maigret begins to demonstrate his theory. Simenon and the Renoir brothers play fairly with the audience in this murder mystery, but the actual solution is far more complicated than the one offered early on. That the solution turns out to be the truth is a trick of the writer. Another solution could just as easily been written and Maigret could have produced the evidence equally easily, should Simenon and the director have wished it. In effect, they produce the clues after the audience has been given the complete story.

Carrefour has been considered a precursor to film noir and it can be agreed that the film is all about atmosphere. Renoir uses long sweeping pans to explore the space. There is a consciousness with regards to constructing depth in the mise-en-scene. Interestingly groups of characters are organized and move around in this film slightly differently from Grande Illusion or Regle, and is more similar to Cordelier. If theses differences can be connected to two overall stylistics systems for Renoir's work, with one being more focused on psychology (I realize Renoir spoke vehemently against it), then perhaps Carrefour can be understood as a bit of a hybrid between Renoir's two dominant stylistic systems. In Carrefour, ample closeups and angular shots support this claim while a lack of mobile framing (on interiors certainly) goes further to promote this thesis. Closeups on particular objects (cigarette pack) are ambiguously pov and hint at a transcendental position (not typical of Renoir) and is perhaps explainable through the film being an adaptation of a Simenon book. Again, Renoir finds novel uses for synch sound with alternating sound design and sound used through a sense of privilege. The settings are beautiful and the nighttime scenes become eerie and displaced (the displacement is all the more provocative when piecing together a film that is missing a reel). There is a Renoirian dilemma at play in this Simenon story and Renoir's use of polyvocal systems (Illusion, Carosse) underscore it. Carrefour is not unobtrusively political in its presentation of foreigners (Danes) being blamed for the murder of a Jew. A theme of separation and disconnect permeates those 'reasons' that people have for doing what they do. Pierre Renoir as Maigret performs perfecting in navigating the layers of the drama with subtle intent and sharpened will. The employment of great depth of field (lattice of door frame, staircase through doorway) plays more on this psychological disconnect of motives for action than it does for constructing space unobtrusively. That is to say, the direction is willful and therefore driven by auteur psychology and defined by construction of transcendental subject positions. Convergence is a force that surges forward to counter the themes of separation and disconnect. Class structure comes colliding into a single plane (and for this reviewer) reveals more about what holds everyone together in unity as opposed to toying with issues of servitude/mastery. Eventually, the pace slows and the atmosphere dominates. The foggy night and dim light provide a nice juxtaposition to the possibility of elucidation on the plot of the film. Some have commented that Night at the Crossroads is impossible to make sense of (without the full working print), but perhaps even with a complete print it would defy any logical and straightforward readings.

Georges Simenon once claimed to have written 60-80 pages a day and to have bedded 10,000 women. Should anyone deserve to be included in a list of famous Belgians then it is surely he!

His masterful novels with their psychological insights and ambivalent characters have enriched the world of film immeasurably and this surreal opus of Jean Renoir marks a first screen adaptation and the first personification of Jules Maigret in the form of Jean's brother Pierre.

By all accounts the author was none too pleased with the finished result but sufficiently impressed with Pierre's portrayal to hope that he would reprise the role in 'Un Tete d'un Homme' which was eventually played by the magnificent Harry Baur under Julien Duvivier's direction.

The somewhat convoluted plot here is of secondary importance to the all-pervading atmosphere of doom and gloom, heightened by exterior night shots shrouded in fog and mist with seemingly endless rainfall. The bizarre edits together with jumps and bumps in the narrative flow have been attributed to missing reels, lack of funds, Jean Renoir's excessive drinking or combinations thereof.

In spite of it all or perhaps because of it, this oddity remains both absorbing and entertaining. This is Pierre Renoir's first major film role and his Maigret is mainly required to hang around waiting for one of the crooks to make a mistake whilst exuding the air of menace that was to be so effective in this actor's later villainous roles. The most fascinating aspect of the piece is his ambivalent relationship with sluttish, cocaine-addicted Else played by the enigmatic Winna Winifried whose memorable performance provides an unique take on the 'femme fatale'.

Where does the film stand in this director's output? The quality of his films throughout the 1930's is unequalled and many of these have long since been regarded as timeless classics. This particular film, although influential in the development of Film Noir and a must for Renoir completists, remains, for this viewer at any rate, a relatively minor entry.

"Night at the Crossroads" has the reputation of Jean Renoir's least-known sound film. Whether this is justified or not, it is not hard to understand why it has fallen by the wayside. Not as openly political as his later films as well as lacking in a coherent plot, it is easy to dismiss this film based on an early Georges Simenon novel as just another pulp detective yarn made as an imitation of the increasingly popular Hollywood gangster films. Indeed, Renoir's own dissatisfaction with the film and the rumours that it was never completed haven't helped its reputation. However, in "Night at the Crossroads", Renoir has made a film so beguilingly atmospheric and infuriatingly irrational, that it simply mustn't be dismissed.

The plot, such as it is, follows the investigation into the murder of a Jewish diamond merchant found in the garage of a house near a small French village. The house itself is located on a crossroad and belongs to a mysterious one-eyed Dane (Georges Koudria) and his flirtatious sister (Winna Winifried). Opposite the house, on the crossroad, is a garage and next to it, the house of the portly Mr Michnnet (Jean Gehret).

Enter Inspector Maigret (Pierre Renoir), Surete's indefatigable investigator taking charge of the case. He takes a temporary residence at the crossroad which he finds to be a less than idyllic place.

Proceeding in odd fits and jumps and seemingly lacking any continuity between its many twists and reveals, the plot is hardly of consequence in this thriller. Rumour has it that certain key scenes either weren't filmed or were lost at some point during the production. I don't believe this to be the case. It seems to me more likely that Jean Renoir was simply more interested in the bizarre cast of characters cohabitating at this dreary French crossroads and the gothic atmosphere of the Simenon novel than its frequently ludicrous plot machinations.

I didn't find the plot that hard to follow, it is simply unfolded in such an off-hand manner that it seems more incidental than is usual in a crime movie. Most key events take place off-screen. Characters are kidnapped and released, lost and found out of sight of the camera or Maigret who seems to spend most of his time wandering between the three houses as bemused by all the oddness found in them as we are. Most of the twists are explained after they occur in the form of throwaway dialogue and all of the deductions from Maigret seem to come out of nowhere. In fact, in some cases, they seem to be more divinations than deductions since he doesn't seem to have any clues whatsoever.

As I said, it is the thick, gloomy, often bizarre atmosphere that is what drives this film and many of the elements at play in "Night at the Crossroads" wouldn't seem out of place in a David Lynch film. Just look at the cast of characters. Besides the straight-laced Maigret, we have his minute, goofy assistant, a constantly grinning, bear-like local inspector, an accordion-playing garage owner, a melancholic, black monocle-wearing Dane, his apparently nymphomaniac sister, and a greatly disliked accountant who always seems to be running somewhere. Furthermore, just like Lynch, Renoir cuts between disparate styles with reckless abandon. Every scene in this film seems to be shot in a different genre ranging freely from gothic horror to slapstick comedy, from torrid romantic melodrama to American gangster flicks. In between all of this, Renoir frequently cuts in complete non-sequitur shots such as the sexy Danish nymph seductively playing with a pet tortoise.

Surprisingly, Renoir mostly manages to hold it all together with the film's sorrowful, bleak atmosphere acting as a kind of cohesive. The film's memorable location, the country crossroad seemingly between nothing and nowhere, drenched in rain and fog, simply oozes it.

The photography by Georges Asselin and Marcel Lucien is simply astounding and although the film occasionally suffers from the ails of early talkies such as odd framing choices and static, talky scenes, the images on display are simply beautiful. Mostly shot at night or in darkness, there are very few light sources evident in the scenes and quite a few of them are diegetic. There are wonderful shots of figures walking through the misty night illuminated only by passing headlights or entire scenes in which the only light source appears to be a desk lamp engulfed in cigarette smoke. Add into the mix the constantly drizzling rain and you get a film set in a murky world in which morality is grey and the line between good and bad is utterly obscured. The climactic chase scene is shot from the POV of the chasing car, in the night, with only that car's headlights lighting the way. The effect is one of total immersion.

This wouldn't be a Renoir film if it didn't offer up the occasional social commentary and here he uses Simenon's set-up quite brilliantly to his ends. By setting each of the tenants of the crossroads on a different rung of the social ladder, he has them in constant conflict, a kind of brewing cold war. The garage workers are, of course, working-class men whom we are first introduced to mockingly reading the society pages of the newspaper. There is an open disliking between them and Monsieur Michonnet, the recently wealthy accountant whom they refer to as "the bourgeoise". However, when the murder takes place, they join forces in pointing the accusatory finger at the Danes, finally united in their xenophobia. The Danes, on the other hand, show little empathy for the Jewish victim seeing how they're antisemitic. Renoir has a lot of fun portraying this cold war along with several other barbed jabs such as the scene of Parisiennes buying the newspapers being framed to show filthy water flowing into the street gutters. A literal depiction of the term "gutter press".

"Night at the Crossroads" is a far more interesting and innovative film than it may seem on the surface. It is certainly no pulp crime story and can hardly be called a detective film at all since the plot plays only a cursory role. Not all of it works. It is sometimes incoherent and distracting, and its oddity is frequently overwhelming, however, once you accept its flaws and allow yourself to enjoy its bizarrity unencumbered with attempts at understanding it, you'll find yourself engulfed in its curiously powerful, drizzly, sorrowful, gothic atmosphere.