6.7/10
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Night at the Crossroads (1932)

La nuit du carrefour (original title)
A gang of thieves utilizes a cross-road garage as the hideaway. During their last caper, the gang has accidentally murdered a jewel thief, and the heat is on.

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(novel), (adaptation)
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Cast

Complete credited cast:
Pierre Renoir ...
Georges Térof ...
Lucas (as G. Terof)
Winna Winifried ...
Else Andersen (as Winna Winfried)
Georges Koudria ...
Carl Andersen (as George Koudria)
Dignimont ...
G.A. Martin ...
Granjean (as Martin)
Michel Duran ...
Jojo
Jean Gehret ...
Emile Michonnet (as Gehret)
Boulicot ...
Un gendarme
Max Dalban ...
Le docteur (as Dalban)
Roger Gaillard ...
Le boucher (as Gaillard)
Jean Mitry ...
Arsène
Jane Pierson ...
Mme Michonnet
...
Guido (as Rabby)
Lucie Vallat ...
Michelle, la femme d'Oscar
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Storyline

A gang of thieves utilizes a cross-road garage as the hideaway. During their last caper, the gang has accidentally murdered a jewel thief, and the heat is on.

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Mystery

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Details

Country:

Language:

|

Release Date:

18 April 1932 (France)  »

Also Known As:

La notte dell'incrocio  »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

(DVD)

Sound Mix:

(Western Electric)

Aspect Ratio:

1.20 : 1
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Featured in Histoire(s) du cinéma: Les signes parmi nous (1998) See more »

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User Reviews

 
Inept early Renoir.
2 July 2003 | by (Germany) – See all my reviews

I was surprised at how awkward, amateurish and even inept this early Renoir film was. Admittedly, there are moments of greatness where one sees the later master, particularly in some closer shots, where one can see fine, detailed, subtle acting. But for the most part of the film, this is a clumsily executed work of poor technical quality, and shaky narrative control. A sequence such as the night-time car chase is technically very brave for this period, but this doesn't excuse it for its poor realisation; one can be sure that Murnau would never have accepted such shoddy work. If one compares LA NUIT DU CARREFOUR with other films made in 1932, such as QUEEN CHRISTINA or GRAND HOTEL, one can see how inelegant and primitive this film's mise-en-scene is. I write this negative review merely to share with other people my disappointment; I travelled to see this film in a rare screening at London's NFT, but felt that I shouldn't have bothered.


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