L'homme de la tour Eiffel

I found this film a real mixed bag. Firstly there is the jaunting use of colour. It has been well documented that the negative is long lost and only two 35mm film prints of varying quality are known to have survived (the DVD is made from the best elements combined from both these prints). The film print is still quite scratched and dark in places and could probably do with a proper digital restoration but at least it is watchable, if not as easy on the eye as technicolor is.

I'm not going to go into plot details as others have already done that but I did find the film starts off quite well before the plot starts to sag quite badly in the middle and gets overly complicated, although it does pick up again towards the end when Maigret's plan starts to come together leading to the action packed finale. Also, despite receiving a major credit, Wilfrid Hyde White is in the film for one scene only so its more of a cameo than anything else.

I found the dialogue to be hugely artificial at times making it sound like bad acting rather than decent actors trying to say some rather wooden lines. Yet Maigret himself is quite wonderfully acted by Charles Laughton who plays the role just right. Whereas some of the other characters seem very contrived, Maigret has a wonderful sense of humanity and believability as a middle aged, rather rotund detective who is actually smarter than he lets on. In fact Laughton's interpretation is not a million miles away from Michael Gambon's portrayal for television 40 years later. His sense of calm and intelligence, patiently waiting for his arrogant suspect to make a mistake, is reminiscent of Peter Ustinov's unruffled Hercule Poirot.

A final word should go to the production values. Shot on the streets of Paris this film is an interesting view of how post war Paris looked, showing both the beauty of the city and the damage from the war that had finished 4 years earlier. Burgess Meredith was asked to take over directing the film three days into filming and to be fair he does a decent job, keeping the camera moving when it needs to and ensuring the audience know this is not filmed on a backlot in Hollywood. The sound is also beautifully clear too, a hard job when you consider the amount of location work involved.

All in all this film falls short of being a genuine classic due to a muddled and flabby script, bad dialogue (in places) and some overacting by some of the supporting cast. However its still has a lot going for it and is well worth a watch for Laughtons performance alone.

I'd read about this movie years ago (and nearly bought a DVD at the supermarket, but passed) so I was pleased to see it on PBS last night. It does sustain interest but ultimately isn't very satisfying. Parisian locations are very nice and lend the right touch of authenticity to Simenon's tale, but the most disappointing element is the cast. As the villain (spoiler?) Franchot Tone (who also co-produced) begins well in his quieter scenes but as his megalomania takes over he simply shouts his way through the part. Meredith plays a mousy character he's done countless times (the glasses gimmick would be used again, memorably, in a "Twilight Zone" episode). Most unfortunate is Charles Laughton, an actor I rarely find less than hugely entertaining (even in ABBOT AND COSTELLO MEET CAPTAIN KIDD) who in this film just can't seem to find a handle for his character, coming across as erratic and boring. The only actor who emerges with professional honor intact is Wilfred Hyde White, who shines briefly in a small cameo.

The climactic chase on the Eiffel Tower, however, is a vertigo inducing delight, marred only slightly by unfortunate use of a dummy. A movie worth seeing once, especially for the finale, but not more than that.

I have seen this piece of rag-tag cinematic pulp over and over again. I often wonder why it was ever made. It is rather boring. Even the fine cast members can't save it. Franchot Tone comes off like a spoiled brat in need of a flogging. Laughton, generally stellar in his roles, is not the least convincing as Maigret. Hate to say it, but PBS would do a far more spectacular job some decades later. Burgess Meredith seems to be doing a precursor to a role he would years later play on a "Twilight Zone" episode, where he finally has time to read all the books in the world, but smashes his glasses. This flick is a cop-magazine version of "The Outlaw". Who knows what, or why , or wherefore ? It's mildly entertaining, but much more a curio than anything else.

Dedicated film buffs will find only three elements of interest in this

otherwise disappointing production.

1. It was shot in Anscocolor, a process originally developed in Germany

designed to compete with Technicolor which it did with some success into

the 1950's. It's use here is unintentionally amusing because in the VHS

version it has been so badly degraded that rather than full color most

of the scenes appear as sepia-toned with the exception of Burgess

Meredith's hair which is an incongruous flaming red!

Anscocolor was used successfully in a number of films during this same

era such as The Student Prince, Brigadoon, Take the High Ground (with

Richard Widmark) and The Long, Long Trailer starring Lucille Ball and

Desi Arnaz.

2. The atmosphere of post-war Paris is used to good effect and is

historically interesting, but still meager compensation for a dull,

plodding narrative.

3. While Burgess Meredith is listed as the director there were actually

two others. Irving Allen, who later went on to become a noted producer, was replaced

at the insistence of Charles Laughton who then directed the scenes in

which Meredith appeared.

If you are fan of Georges Simenon's detective novels, you will also be

annoyed by Laughton's uninspired portrayal of the iconic Inspector

Maigret.....

As I started watching The Man On the Eiffel Tower it looked like it was going to go in the direction of Alfred Hitchcock's Strangers on a Train. Robert Hutton is having a sit down with his wife Patricia Roc and his mistress Jean Wallace in a Paris cafe. He gets an offer from Franchot Tone who was all ears that he'd kill Hutton's aunt who controls the family pursestrings so that Hutton could be independent.

Tone doesn't lack for chops. He not only does the deed with a maid thrown in for good measure, he manages to pin the crime on milquetoast Burgess Meredith who just happened on the scene.

Fortunately police inspector Maigret as played by Charles Laughton doesn't buy the pat scenario. He turns up Tone as a suspect, but he can't quite pin it on him. Tone's character reeks of Nietzchean superiority and France had just gotten liberated from a country that bought into that philosophy. Probably for today's audience, especially an American one, that particular dynamic can't be appreciated.

Even an escape allowed by the Paris police by Meredith blows up in Laughton's face and threatens to ruin the career of Inspector Maigret. Fortunately Laughton has a few tricks up his sleeve.

What we have in The Man On the Eiffel Tower is three very distinguished players from stage and screen who got together and made the film almost as a lark. Tone spent his entire film career trying to get out from under typecasting as a debonair gentleman in tails who usually loses the girl in the end to a bigger name. Right after this was done Franchot Tone did exactly that role in Frank Capra's Here Comes the Groom. His role here as Radek is certainly miles away from his usual parts. Tone produced this as he also produced another independent film the year before, Jigsaw, which was shot in New York.

He got friend Burgess Meredith to direct and play the stooge. The story unfortunately does sag at times until the climax chase scene on the Eiffel Tower. That whole sequence is almost like The Third Man except where Harry Lime seeks escape in the sewers of Vienna, superman Tone leads his pursuers up the Eiffel Tower. In the end though he's not quite the superman he thinks he is.

Charles Laughton made a nice Inspector Maigret. This is the second French police inspector of literature he's done. But there sure is a world of difference between Maigret and Javert of Les Miserables. In fact Laughton is far more like Sir Wilfred Robards in Witness for the Prosecution than Javert.

It's too bad that director Meredith didn't have the kind of computer generated special effects and had to rely on brave stunt men and actors to do the job. If Man on the Eiffel Tower were filmed today, I'm sure it would have been far better.

This criticism is almost a cliché, but Alfred Hitchcock could have really done something with The Man on the Eiffel Tower.