Excellent fusion of thriller, police investigation and comedy
Among the big names in French cinema of the 1940s, names like Jean Cocteau, Robert Bresson, Marcel Carné, René Clément, and others are pioneers who have brought much to the medium. Just like Henri-Georges Clouzot, a name which has unfortunately been neglected by contemporary names from the French New Wave for questionable reasons. Although the artist had an important reputation for being a tyrant on his film sets, an aspect very documented and recognized by his collaborators and teams, and did not create warm working climates, his work nevertheless remains incredible. Among his masterpieces, Quai des Orfèvres is a classic of French detective cinema.
Adapted from the novel Légitime Défense by Stanislas André Steelman, Quai des Orfèvres presents how Jenny Lamour, music hall star, and her husband Maurice Martineau, pianist and musician accompanist, found themselves involved in a murder case involving a movie producer named Brignon. For Jenny, whose musical performances are increasingly recognized in the industry, doing business with this important producer is an opportunity not to be overlooked. But for her husband Maurice, who knows of his wife’s adulterous past before he married her, the thought of seeing Jenny having an affair with this Don Juan makes him jealous and furious with her. Realizing that she has finally been to see this producer in hiding, Maurice decides to show up to the meeting with a gun. But to his surprise, he finds himself in front of Brignon’s corpse. Leaving the scene at high speed for fear of being suspected of the murder, it is under excruciating stress that he tries to flee the questions and interrogations of the police. Same situation for Jenny who, for her part, believes she killed Brignon while she was trying to defend herself against the advances of this producer. So, as husband and wife try to hide their truth from each other with Brignon, it is their friend Dora Monier who becomes each other’s confidant. And through these two dramatic ironies, she becomes their psychological platform of support. Especially when Deputy Inspector Antoine investigates this incident and gets dangerously close to Jenny and Maurice and Dora, suspecting all three of being guilty.
Thus, as this police force tightens its grip on the three protagonists, we have a gripping thriller filmed by Clouzot. A movie that goes from a cabaret comedy to an unbearable police suspense. A nice change of register that occurs immediately after the tragedy with Brignon. But to come back to the comedy aspect, it is fascinating to see Clouzot play in this register which is not very present in his work that is, all in all, quite pessimistic. Especially the cabaret portion. Where we see Jenny Lamour sing her song, which is the main theme of the film since the melody is repeated in the opening credits. And in his performance, the reactions of the cabaret spectators are hilarious. A beautiful moment of relaxation in a story that plunges into the great drama and despair. Where one feels as much empathy for the couple in love, Dora and the policeman. Although one cannot help but hope that the lovers and Dora will be released and their innocence proven.
And of this empathy, it is amplified by the excellent performance of the actors. From Bernard Blier to Suzy Delair, who would become the director’s wife after filming. And concerning this actress, we see how the director feels passion for her and takes pleasure in filming her; with lighting and camera angles that enhance her scenes. In particular, reflections effects with quite captivating mirrors. However, another performance that deserves to be applauded is Simone Renant’s. Throughout the picture, she expresses an impressive wisdom and calm of mind. Especially when she finds herself in front of Inspector Antoine. Moreover, if you look at the cast, you will recognize certain figures present in other productions of Clouzot. This adds to the film a touch of theatrical troupe similar to those of the director’s other pictures.
As for the cinematography, there are excellent camera angles and light effects. As well as a very nice use of German expressionism techniques, a cinema current that Clouzot knew since he learned his moviemaking techniques at UFA studios in Germany. Besides, if you are lucky enough to get the restored copies in 4K or Blu-Ray, you will see a magnificent image. A restoration that allows us to appreciate all the shades of gray, black and white in this film.
So, if you want to see an excellent detective classic about the cabaret scene that showcases the beauty of Henri-Georges Clouzot’s talent, then check out Quai des Orfèvres.
You will not be disappointed.
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