Panique

Although sound and picture quality are abysmal, as in a lot of French films from the 1940's, I do enjoy watching this film for its acting and also for the message it delivers. A murder has been committed in a sector of Paris and all eyes are drawn towards a solitary old gentleman, a slightly eccentric person living in the neighbourhood who had had some contact with the murdered girl (but who is not her murderer). The main object of the film is not "who dunnit" but rather that of painting a portrait of human nature as portrayed by local residents in their attitude of designating Mr Hire, as the man is named as being the obvious guilty party. One can not but have symapthy with the poor old gentleman who is sweet as a church mouse but who, it is true, does have some eccentric habits. Basically speaking, he who is different from the mass is vilipended by that mass at the first opportunity. Thankfully in the end, the real murderer is found, but meanwhile, Mr Hire's character has been blackened ! A remake of the film was made in the 1990's under the title "Monsieur Hire". The original Monsieur Hire was played in 1946 by the great Michel Simon ( an actor whom I adore ). The Monsieur Hire of the 1990's was played by Michel Blanc, more known for comic or semi-comic roles but who nevertheless delivers an excellent performance for this role !

In a tight-knit Parisian neighbourhood, a murder has taken place. Gossip leads to the belief that the murderer is Monsieur Hire (Michel Simon), an unsociable outsider.

As murder mysteries go, this one is unique and fascinating. The murderer is revealed early in the film. What takes place from then on is even more intriguing than most other murder stories.

Most fascinating is the portrayal of Hire - both as played by Simon and as written by Julien Duvivier (the film's director) and Charles Spaak. One can easily see why he is unlikeable in various scenes; yet, he is admirable for acting confidently and morally when he is unfairly treated with contempt by those who have much less character than he has. While anti-Semitism does not seem to be behind the mistrust of Hire, he is further isolated as he is the only Jew in the neighbourhood. The viewer also learns of Hire's isolation beginning in childhood even within his own family.

These opposite feelings toward this character are part of the richness of this story. While we feel great sympathy for him by the conclusion, a shocking revelation at the end leaves the viewer with other feelings: it seems that in Hire's extreme isolation from community standards, his actions and inactions contributed to his own problems.

There is also a theme about loners that goes beyond Hire. Two other characters seem to possess this trait. One is a clever detective who is very observant and is not in the least swayed by mob mentality. The other is the murder victim herself as the tributes to her mention that she more or less kept to herself.

As a director, Duvivier has done a superb job in keeping the suspense alive leading to a shocking crowd scene at the end that has culminated as the result of a vile mob mindset looking for a scapegoat. While there is so much to praise about "Panique", its greatest asset is how much it leaves one thinking after its completion. - dbamateurcritic

OUTSTANDING ACHIEVEMENTS:

1) Directing by Julien Duvivier 2) Screenplay by Julien Duvivier and Charles Spaak (based on the novel "Les Fiançailles de M. Hire" by Georges Simenon 3) Acting by Michel Simon.

With an interesting story and some good suspense, this mystery/thriller works pretty well despite a lack of any particularly appealing characters. At the beginning, it sets up a complicated situation, and builds at a good pace to lead up to a tense finale. It has quite a low-budget look to it, but with a story of this kind, sometimes that actually fits in rather well.

There is a lot going on right from the beginning. In a neighborhood where a murder has just been committed, there is a young woman coming home from prison, seeking out the lover for whom she took the blame. There is also an unpopular and eccentric resident whom no one can figure out. These and other characters soon get involved in a lengthy cat-and-mouse game that keeps things interesting the rest of the way. It would be even more compelling if at least some of the characters were a little easier to sympathize with, but the story itself is enough to hold your attention. One slight drawback - not a fault of the original film-makers - is that the titles (at least on the English version that seems to be available) are very light and often hard to read, so you miss a few things, unless by chance your French is sharp enough to catch everything.

Overall, it's above average for its genre. If you enjoy film noir or older thrillers, and don't mind a low-budget style, this one should be worth a look.

Just as 'Voici les temps des assassins' is Julien Duvivier's best film of the fifties, this must surely be his finest of the forties. I would go so far as to say this is one of the greatest films made by any director in any decade. This adaptation by Charles Spaak of Georges Simenon's novel of 1933 differs slightly from the original novel in which Monsieur Hire is a petty crook of Jewish origin who is under police surveillance for the murder of a young prostitute. In this version he is a highly intelligent, bookish, unsociable loner. This of course makes him an obvious target for the petty, small-minded mediocrities who inhabit the town. Made so soon after the end of the German occupation this film is redolent of collaboration, denunciation and scapegoating. One of the most terrifying of lines is spoken by the loud mouthed, rabble-rousing butcher: 'If there is a black sheep in the flock you slaughter it'. Even by Michel Simon's standards his characterisation of the kind and tragically misunderstood Monsieur Hire is superlative and represents film acting at its very best. Viviane Romance and Paul Bernard excel as the utterly loathsome Alice and Alfred whose machinations cause his downfall. Technically the film is faultless with never a wasted shot and building to a thrilling climax. Mention must be made of Duvivier's preferred editor Marthe Poncin. Behind the camera is Nicholas Hayer who also shot that other masterpiece of mob misrule 'Le Corbeau'. Like Clouzot's film this is dark and deeply cynical and reflects Duvivier's own view 'that we are far from people who love each other'. If any film deserves full marks then it must surely be this.

This is a pretty monumental film, impressing with clarity of picture, busyness of street action and immediacy of plot development right from the start. Indeed this, beautifully photographed film engages from the beginning and roars along from scene to scene and image to image to inform in the most economical of ways before gradually slowing down as the story deteriorates into something quite terrible. Viviane Romance plays the leading lady, who is anything but, with great style but is this true love? Or is this sheer greed or even true hatred that leads to such panic. The sad, suspenseful ending reminded me of Frankenstein's monster, Quasimodo and even poor old King Kong but the true aim here by the writer Simenon in his original book is surely his own country folk and their disgraceful behaviour during WW2. Frighteningly effective cinema.