Quai des Orfèvres

First of all,there is a detective story:"légitime défense" by Belgian Stanislas André Steeman whose "l'assassin habite au 21" Clouzot had already transferred to the screen in 1942,with Pierre Fresnay and the same actress Suzy Delair.Steeman complained about Clouzot's adaptation for both movies.The movie from 1942 was excellent,but the "detective story" side had been kept,so why complaining?As for "Quai des orfèvres",Clouzot was now in a new phase of his brilliant career.After having directed "le corbeau" and been blacklisted,he had a lot more to say than a simple whodunit.Steeman complained essentially about the poor detective ending,which I will not reveal of course,but Clouzot focused on the social vignettes,on his characters's psychology,and he did not give a damn about the puzzle à la Agatha Christie.By doing so,he becomes the genuine predecessor of CLaude Chabrol who has always been closer to him than to Alfred Hitchcock whom he admires much though. Suzy Delair has great screen presence,and you will love the song she really sings(she was a singer too)"avec son tralala".Bernard Blier gives ,as ever,a sparing of gestures and words performance,and he really pulls it off .Two characters are particularly interesting and disturbing:the first one,Dora,the photographer:she takes pictures of female models ,and Clouzot,by subtle touches,reveals us she's a lesbian.Of course,the word is never uttered(How could it be in 1947?) The police chief (fabulous Louis Jouvet) tells her:"You and me,WE are not lucky with women."The portrait of this cop is very detailed:we learn a lot of things about him,not necessarily connected with the Delair/Blier plot:he's a widower ,with a son he adores and who runs into school difficulties,particularly in geometry.So we get to know all the characters in depth.One of the most important manifesto of post-war French cinema.

In the postwar Paris, the accompanist pianist Maurice Martineau (Bernard Blier) is a jealous man from the upper class married with the ambitious singer Marguerite Chauffournier Martineau, most known by her artistic name Jenny Lamour (Suzy Delair), a woman with past from the lower classes. When the lecher but powerful Georges Brignon (Charles Dullin) harasses and invites Jenny for dinner promising a role in a film, Maurice goes to the restaurant and threatens Brignon. A couple of days later, Jenny tells Maurice that she is going to visit her grandmother in another town. However, her husband finds a piece of paper hidden in the kitchen with Brignon's address. Maurice goes to the theater to have an alibi and heads to Brignon's manor during the show with the intention of killing the old man. However, he finds Brignon's house open and the man dead on the floor. When he leaves the crime scene, his car is stolen and Maurice has to walk back to the theater. Meanwhile, Jenny arrives in the house of the lesbian photographer Dora Monier (Simone Renant), who is an old friend of Maurice and has a crush on Jenny, and tells Dora that she has just killed Brignon. But Jenny notes that she had forgotten her fur on the couch in the living room of Brignon's house and Dora takes a cab to retrieve the stole. Inspector Antoine (Louis Jouvet) is assigned to investigate the case and sooner he visits Jenny, Maurice and Dora to check their alibis for that night in the beginning of his investigation.

"Quai des Orfèvres" is an amusing story of an efficient detective investigating a murder in a comedy of errors of the three lead suspects. Henri-Georges Clouzot is one of the best French directors ever and "Quais des Orfèvres" is another gem in his filmography. The witty screenplay has many twists and is supported by the magnificent cinematography in black-and-white and awesome performances. Bernard Blier, the father of Bertrand Blier, is perfect in the role of a jealous cuckold without confidence in his wife and self-respect. Suzy Delair performs an ambitious woman that has a past with lovers and wants to climb positions in the show-business, but loves her husband. Simone Renant is great in the role of a lesbian photographer. But who steals the film is Louis Jouvet, in the role of a detective that seems to be naive, but is capable to find the truth that each character intends to hide. My understanding is that Antoine might be gay since he does not like women. My vote is eight.

Title (Brazil): "Crime em Paris" ("Crime in Paris")

The extraordinarily adorable Suzy Delair plays a statuesque performer obsessed with succeeding in the theater. Her husband and accompanist, played by Bernard Blier, is a composed but jealous man. When he finds out in a less than preferable way that his flashy wife has planned a rendezvous with a lecherous old businessman with the intention of advancing her career, he loses all control and threatens the businessman with murder. Now, at that point, I must stop describing the film to you because it skates on such thin ice with its twists, revelations, ambiguities and suspense that to imply any of it would endanger it. I am not sure how good or bad that is for this French police procedural emanating from the song- and-dance community, though it is certainly interesting that what we do know throughout is who did not do it. We just don't know who did.

The story depends upon the procedure of following clues, where ideal alibis fail and where cautiously created fabrications and deceptions disintegrate. Interestingly, this is a suspense film in which suspense is generated in spite of the knowledge one would traditionally think too much too soon.

Quay of the Goldsmiths is the least dark of Henri-Georges Clouzot's films. It's nowhere near as sinister as the shocking Les Diaboliques, as tragic as the riveting Wages of Fear or as eery as Le Corbeau. Maybe it is due to the vibrance of the dance halls and theater settings of 1940s France, which all work as the milieu of this crime thriller.

Clouzot both understands and approves of his characters, even the more rotten ones, where he has more of a vindictive streak with his other films. Where he may have had understanding for the scheming women in Les Diabolique or the truck drivers who sink to the level of risking horrible death in order to oust themselves from miserable life in The Wages of Fear, there isn't necessarily support or agreement on the part of the filmmaker, for these are characters who plainly made the direct decisions that determine their fate. All the characters in this more settling film have scenes and moments that endear us to them, even the harsh, cold detective played by Louis Jouvet, who worries about his young adoptive son amid all the trouble and despair that happens in his life at any time with the drop of a hat.

There is humor and unabashed sexiness, the latter mostly on the part of Delair, that neutralize the pressure to a degree. Clouzot was quietly practicing his craft, patient till he made his unrelenting later films, in which he would permit his audiences no pardon from the tension.

A nice, humorous mix of music hall (in the first third mostly) and police procedural mystery as the various suspects' stories start to collapse. The final exposure of the murder may come as a surprise if you don't watch closely. A gritty look at Paris of the time. You can ignore the final scene (the Hollywood ending). Louis Jouvet is best as the police inspector who seems to be just passing through, but is really on top of things.

Henri-Georges Clouzot's "Quai des Orfevres" (1947) stars Suzy Delair, Bernard Blier, Louis Jouvet, and Charles Dullin. The story takes place in post-war Paris, where an accompanist, Maurice Martineau (Blier) lives with his singer wife, Marguerite, better known as Jenny Lamour (Suzy Delair). An important man, Georges Brignon (Dullin) promises Jenny work, and because she's ambitious, she flirts with him. Maurice is an extremely jealous man, so he finds Brignon in a restaurant and threatens him.

Later on, Jenny tells Maurice she is visiting her grandmother, who lives in another town. This gives Maurice a good opportunity to bump off Brignon, especially when he finds the man's address on a piece of paper in the kitchen and realizes Jenny was lying. But when he gets to Brignon's house, Brignon is already dead.

Inspector Antoine (Juvet) is assigned to the case, and it doesn't take him long to realize that some alibis aren't very secure.

Wonderful film, with the excellent Juvet outstanding as Inspector Antoine, and an excellent performance by Simone Renant as a lesbian photographer, Dora, in love with Jenny. Delair, who was involved with Clouzot, is good as a lower-class woman who loves her husband but wants to get ahead in show business as well.

This is Clouzot at his best, with a witty script with some plot twists and a true Parisian atmosphere.