Le masque de Dimitrios

Wonderful suspense film, with Lorre and Greenstreet, the Mutt and Jeff, of international intrigue, at the very top of their game, a great screen debut by Zachery Scott in the title role, and Victor Francen's very best performance in a minor but vital part. Atmosphere galore. -This- is the kind of film Warner Brothers did better than anyone else.

This excellent slice of film noir sees classic actor Peter Lorre in a role that is less sinister than what we're used to seeing from him, but nevertheless; the refined performer manages a portrayal that really is a major asset for this film. The plot takes in elements of mystery and suspense and features themes of intrigue and greed at its centre. The film follows a writer who learns of a devilishly intelligent criminal by the name of Dimitrios Makropoulos, whose corpse is washed up on the shore of Istanbul. Knowing that this will give him a good base for a story, the writer follows his story across Europe and learns more and more about the illusive criminal. Much of the film's plot takes place in flashbacks, and in this respect, Jean Negulesco's film is very clever as we get to see the central figure's actions at the same time as learning about the kind of man he is; and like the writer at the heart of the tale, it's easy to become intrigued with the character of Dimitrios by watching the flashbacks.

The cast really is a strong element of this film, and starring alongside Peter Lorre is his co-star in The Maltese Falcon, Casablanca and The Verdict (to name a few), Sydney Greenstreet. These two actors work well together, and this is shown by the way that their dialogue flows. They're a bit of an odd couple, with Lorre being a very short European and Greenstreet being an enormous Englishman, but really that just adds to the appeal. An excellent supporting performance from a very dapper Zachary Scott rounds off the film in the acting department. The Mask of Dimitrios benefits from its dark picture, which in turn lends the film a grim and foreboding atmosphere. The locations are good, as the film takes place across Europe, with scenes taking place in Paris, Istanbul and Athens to name a few places. The plot moves very well as it straddles between what is happening in the present and what went on in the past, and Frank Gruber's screenplay does a great job of ensuring that the characters are well thought-out in a film that is as intriguing as it is thrilling. Recommended.

The Mask of Dimitrios is an adaptation of Eric Ambler's novel A Coffin for Dimitrios directed by Rumanian-American director Jean Negulescu. A corpse of a man is found washed up on a sea shore somewhere in Bulgaria, which apparently is of Dimitrios Makropoulos, a sought after by the police of various European countries notorious criminal. A fiction writer Cornelius Leyden (Peter Lorre) gets interested in Dimitrios' story and decides to conduct an investigation about his life and death with the intent of writing a book about it. In order to do that he begins a journey through Europe, following the trail of Dimitrios activities, which begins in Istambul and ends in Paris.

On the way he is joined by a mysterious stranger Mr. Peters (Sydney Greenstreet) who, as it turns out to be, has the same mission of finding out about Dimitrios' life, but whose motivations are quite different.

A good but little seen Film-Noir classic. 8/10

Eric Ambler was in a way the John Le Carré of his generation. A few of his works were turned into fantastic films. The two best ones were "Journey Into Fear" and "The Mask of Dimitrios." From the opening sequence when a body is washed ashore and a group of beachcombers walk up to it, realize what it is, and run away screaming, to the final fade out, this movie grabs the viewer's attention and holds it.

The acting is brilliant, from the stand out performances of the two leads, Peter Lorre and Sydney Greenstreet to the smallest bit players. Zachary Scott in his first screen appearance is a knockout as the coldblooded, calculating, ruthless international schemer, Dimitrios Makropoulos. Faye Emerson as one of the women, Irana Preveza, Dimitrios used for his own selfish purposes then discarded is uncanny as she changes from a beautiful nightclub singer (in the flashback) to the worn out haggard shadow of a person she has become when relating her story to Cornelius Leyden (Lorre). She tells Leyden that Dimitrios was the only man she was ever actually afraid of. Adding to the effectiveness of this scene is the haunting "Perfidia (Tonight)," played in the background. Victor Francen gives a powerful portrayal of Wladislaw Grodek, someone else Dimitrios has double crossed.

The story unfolds as Leyden, a writer intrigued by Dimitrios' treachery, sets about to uncover as much information as possible about the archfiend in order to write a book. He views Dimitrios' corpse at the morgue then begins backtracking to separate fact from fiction. Enter a stranger who has been following him, a Mr. Peters or is it Peterson. The stranger too wants the facts on Dimitrios for what purpose is not clear.

Not only is the viewer enthralled by the picture of Dimitrios that slowly emerges, but the international scope of the hunt is riveting, Istanbul, the Hellespont, Sofia, Belgrade, Athens, Paris. This was also the time that Hitler's war was raging across Europe which only adds to the atmosphere involving spying and treason.

The Mask of Dimitrios is directed by Jean Negulesco and adapted to screenplay by Frank Gruber from the novel "A Coffin for Dimitrios" written by Eric Ambler. It stars Sydney Greenstreet, Peter Lorre, Zachary Scott and Faye Emerson. Music is by Adolph Deutsch and cinematography by Arthur Edeson.

"For money, some men will allow the innocent to hang. They will turn traitor...they will lie, cheat, steal...they will kill. They appear brilliant, charming, generous! But they are deadly. Such a man was Dimitrios"

Dimitrios alright - ruthless and primitive.

Foreign intrigue mystery thriller dressed up in film noir clobber, Jean Negulesco's film is a treat for the so inclined. Often tagged as the inferior baby brother of John Huston's The Maltese Falcon, that statement shouldn't detract from what a good film Dimitrios is. Plot finds Lorre as mystery novelist Cornelius Leyden, who after learning of the body of master scally-wag Dimitrios Makropoulos (Scott) being washed up dead on the shores of the Bosphorus, seeks out his history in the hope of writing a novel about him - aided by the suspicious Mr. Peters (Greenstreet). What he finds is waters more muddier and deeper than the Bosphorus itself.

Narrative is a two pronged affair, we are in the company of Leyden and Peters during real time, and in the dubious company of Dimitrios in a number of flashbacks that introduce new characters that are bruised and battered, or worse, by Dimitrios' actions. The story moves through a number of exotic European locations, ensuring there's always a cosmopolitan feel to the intrigue. Intrigue that ticks away nicely because nothing you sense is as it seems. Moody atmosphere is unbound via Edeson's (also The Maltese Falcon) photography, plenty of low lights and shadows ensure all the mystery machinations are given added impetus.

Back on release some critics bemoaned the lack of action and of "A" list stars, which now looks very unfair criticism. Certainly Greenstreet and Lorre to their fans have never been seen as lesser lights, their body of work holding up as joyous celluloid art. While the lack of action is irrelevant, this is about story telling and of characterisations, of mystery unravels, all of which leads to a super finale that rewards those who invested their time. 8/10