Que la bête meure

THE BEAST MUST DIE (not to be confused with the 1974 Amicus horror film of the same name) is a 1952 Film Noir and is one of two new releases from Flicker Alley and the Film Noir Foundation that showcase two "lost" movies from 1950s Argentina. The film is based on a once celebrated novel from an unusual source, the 1938 crime thriller of the same name written by Nicholas Blake. What makes it unusual is that Blake was the pen name used by England's then Poet Laureate, Cecil Day-Lewis when he wrote crime novels before he became PL. Today he is remembered as the father of award winning actor Daniel Day-Lewis.

The story concerns a widower, mystery writer Felix Lane, whose young son is struck and killed by a hit-and-run driver. He becomes obsessed with finding that driver and then killing him personally. It takes a while but he eventually locates the person and then infiltrates his household in order to get closer to his victim. He befriends and uses various family members in order to achieve his quest. Lane discovers that the person is a rich, no-good scoundrel that everyone hates so his task is made both easier and harder since many people have good reasons to want him dead.

The performances by an ensemble cast of top Argentinian actors is first rate led by Narciso Ibanez Benta as the grief stricken and then later revenge obsessed father. Other standouts include Laura Hidalgo as the female lead (but not a femme fatale), Guillermo Bataglia as the "beast" who brutalizes his family, and Humberto Balado as the young nephew who reminds the father of his dead son. The photography is suitably atmospheric and the direction by Roman Vinoly Barreto is as good as anything by John Huston, Jacques Tourneur, or Anthony Mann.

Thanks once again to Flicker Alley for continuing their ongoing Film Noir Series in partnership with "Noircheologist" Eddie Muller and to his Film Nor Foundation for rescuing THE BEAST MUST DIE from oblivion. The DVD/Blu Ray combo comes with a 21 page booklet that is loaded with photos and information. Other extras include a filmed introduction on the movie with Muller, a conversation with the director's son, and a profile of lead actor Narciso Ibanez Menta. Finally there is an optional commentary from film historian Guido Segal. An absolute must have for fans of Film Noir...For more reviews visit The Capsule Critic.

Thanks to Eddie Muller and the Film Noir Foundation, TCM viewers were treated this fall to a restoration of The Beast Must Die (aka. La Bestia Debe Morir).

This is a cleverly constructed murder mystery with a bevy of suspects, all with sufficient motive. But you could say that about a lot of movies.

Refreshingly, motivations in this one are clear and the movie is devoid of implausible coincidences or ''dumb people making dumb decisions." I was so absorbed that after a while I forgot I was watching a Spanish-language film with English subtitles.

The cast are uniformly excellent. Narciso Ibáñez Menta doesn't strike a single false note as the writer bent on revenge. I hope to see more of his work on TCM. As for Laura Hidalgo, her career was short, but you're not likely to forget her after seeing this movie. She is the very definition of smouldering.

I've said it before and I will say it again: Eddie Muller and TCM are worth the price of my cable subscription.

A quality noir drama out of Argentina from director Román Viñoly Barreto, but beware going into it that the titular beast (Guillermo Battaglia) is a real jerk. This is a guy who openly carries on an affair with his business partner's wife, can't keep his hands off his sister-in-law, beats his wife and stepson, and kills a boy in a hit and run. There are many who would love to see him dead (including the viewer!), but none more so than a murder mystery author (Narciso Ibáñez Menta) who wheedles his way closer to him by romancing the sister-in-law (Laura Hidalgo).

The story was adapted from the novel of the same name by Cecil Day-Lewis (Daniel's father), and as Eddie Muller from TCM explains, told out of order to heighten the drama, a technique that worked. Barreto moves the film along well, and the fine cinematography helps create an atmosphere of menace, one felt more acutely because children are involved. Menta's reserved character (and performance) are a great contrast to Battaglia's, and Hidalgo adds sizzle. Overall, quite entertaining, and it was very refreshing that its ending was unencumbered by the American Production Code.

Narciso Ibáñez Menta is the widowed father of a son. Although a mathematician, since the death of his wife, he has made his living by writing pulpy mysteries under a pseudonym. When the boy is killed in a traffic accident, he plots the driver's death.... and the driver dies by poison. Menta has a perfect alibi.

The first adaptation of Cecil Day Lewis' novel shows some interesting parallels to Day Lewis' life, although he was not, so far as I can tell, implicated in a murder. The distinguished poet, who became the Laureate in 1968 wrote mysteries under the pseudonym of 'Nicholas Blake. The movie is a clear film noir, with lots of foggy night scenes and a major flashback, visually interesting and with a nice degree of sexual heat running through it, that Chabrol's later version muted.

I knew Flicker Alley had restored this, so I was anxious to see it. It's an Argentine film based on a novel about a crime novelist widower whose young son is the center of his world. When the boy is killed by a hit and run driver - and worse he could have been saved if the driver had stopped and gotten help - he goes on his own search to find the killer and kill him himself. But all of his trails go cold. And then, in a really fantastic and unbelievable turn, he gets a lead. And I'll just leave specifics of the plot at that.

The original novel, according to Eddie Muller on TCM's Noir Alley, had the diary of the avenging father first, and what turns into a murder mystery later. How do you adapt that to film? I think it was done quite artfully. The acting, especially of the two child actors, was well done and the production values are quite high. There were a few things that were surprises to me. Apparently in 1952 Argentina it was considered an intrusion to stop a man from beating his wife? And there was some Christian symbolism, especially at the end, that seemed rather odd.

I will say one bad thing about the restoration. The picture and sound are wonderful, but the English subtitles are white. Thus there are lots of times, when they are superimposed on a light image, that they are difficult or impossible to read. And dialogue is a big part of this film. Still I'd recommend it as something you'd never see coming out of the American studio system of the same year.