Quay of the Goldsmiths
1947 ‘Quai des Orfèvres’ Directed by Henri-Georges Clouzot
Synopsis
Jenny Lamour (Delair) wants to succeed in the theatre. Her husband and accompanist is Maurice Martineau (Blier), a mild-mannered but jealous man. When he finds out that Jenny has been making eyes at Brignon, a lecherous old businessman, in order to further her career, he loses his temper and threatens Brignon with death. Despite this, Jenny goes to a secret rendezvous at Brignon's apartment, who is murdered the same evening. The criminal investigations are led by Inspector Antoine (Jouvet).
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Quai des Orfèvres
"A lecherous old man who likes photographs of nude young ladies (but always with their shoes on) is murdered. Louis Jouvet is excellent as the police inspector who works out who the killer was, and why. This film gives a lovely view of post-war France and of the rather seedy existence of those involved in theatre and film." -
A masterpiece of Noir crime thriller. From the moment it started Clouzot had me hooked. His films are always beautiful to look at and this one has gorgeous lighting and black and white photography. The story starts off pretty simple, what you would expect from a murder mystery, but then it takes a different turn we are introduced to new characters who fall into the story like chess pieces. Topped on by brilliant acting from every actor involved and some pretty memorable lines.
Clouzot knew how to pick women. The actresses are beautiful yet deadly. This film is what Noir should be, bad dames, quick witted detectives and jealous husbands that could lead to a cold hearted murder, but don't forget the toy with your audience, this film takes you on a wild ride, loved it.
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The world of the music hall is hazy and dreamlike, defined by mirrors and glass, the camera gliding through imperceptible borders, all fuzzy outfits, dove pasties and fox furs. The world of the law is hard, wood and metal, rigid lines, angular shadows. Clouzot starts off under the auspices of a murder mystery, and while his procedural flow is rigorous and unrelenting, it becomes clear that this isn’t about the act of solving a crime, but how the governing systems of law and order run counter to the ones of art and emotion. This means we chart a torrent of confused feelings in one half, with the cuckolded pianist Maurice contemplating murder, and impassive process in the second, as lizard-like…
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Love Loius Jouvet, ever since Les Bas Fonds, need to track down more of his films.
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A masterpiece of Noir crime thriller. From the moment it started Clouzot had me hooked. His films are always beautiful to look at and this one has gorgeous lighting and black and white photography. The story starts off pretty simple, what you would expect from a murder mystery, but then it takes a different turn we are introduced to new characters who fall into the story like chess pieces. Topped on by brilliant acting from every actor involved and some pretty memorable lines.
Clouzot knew how to pick women. The actresses are beautiful yet deadly. This film is what Noir should be, bad dames, quick witted detectives and jealous husbands that could lead to a cold hearted murder, but don't forget the toy with your audience, this film takes you on a wild ride, loved it.
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A feel-good, witty, well-acted police procedural by suspense master Clouzot. Mixing the seedy with the moral police, QUAI provides smiles, chuckles and twisting surprises to keep you interested throughout.
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Quai des Orfèvres
"A lecherous old man who likes photographs of nude young ladies (but always with their shoes on) is murdered. Louis Jouvet is excellent as the police inspector who works out who the killer was, and why. This film gives a lovely view of post-war France and of the rather seedy existence of those involved in theatre and film." -
This review reportedly contains spoilers. I can handle the truth.
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Quai des Orfèvres is an exceptional police procedural, with inspector Louis Jouvet investigating the murder of a dirty old man, his suspicions alighting upon a stage star, her jealous husband and a female photographer caught between the two. It's witty and well-played - each character imaginatively, convincingly written - while the direction is simply startling. The setting and story reminded me of the Barbara Stanwyck vehicle Lady of Burlesque, though that's a vastly inferior film.
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[The director has been called the French Hitchcock] Some good bits and some bad bits. Certainly not the masterpiece that it has been described as. The plot ended up being happenstance and fairly bland. I wasn't that into the whole investigation that took up most of the second half. I did like personal interactions and how the characters tried to react to plot points. I also enjoyed everything about the Dora character. I wish that there was more of her and that she had played a bigger role in the story.