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Monsieur Verdoux (1947)
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Overview
User Rating:
Release Date:
8 December 1947 (Sweden) moreTagline:
Chaplin's Bluebeard comedy is a killer! morePlot:
A suave but cynical man supports his family by marrying and murdering rich women for their money, but the job has some occupational hazards. full summary | add synopsisAwards:
Nominated for Oscar. Another 4 wins moreNewsDesk:
The Sexy Tramp: Monsieur Verdoux and Charlie Chaplin as Stud(From Spout. 9 July 2008, 7:28 AM, PDT)
User Comments:
fine work moreCast
(Cast overview, first billed only)| Charles Chaplin | ... | Henri Verdoux | |
| Mady Correll | ... | Mona Verdoux | |
| Allison Roddan | ... | Peter Verdoux | |
| Robert Lewis | ... | Maurice Bottello | |
| Audrey Betz | ... | Martha Bottello | |
| Martha Raye | ... | Annabella Bonheur | |
| Ada May | ... | Annette, Annabella's maid (as Ada-May) | |
| Isobel Elsom | ... | Marie Grosnay | |
| Marjorie Bennett | ... | Marie's Maid | |
| Helene Heigh | ... | Yvonne La Salle, Marie's friend | |
| Margaret Hoffman | ... | Lydia Floray | |
| Marilyn Nash | ... | The Girl | |
| Irving Bacon | ... | Pierre Couvais | |
| Edwin Mills | ... | Jean Couvais | |
| Virginia Brissac | ... | Carlotta Couvais |
Additional Details
Also Known As:
A Comedy of Murders (USA) (working title)The Ladykiller (USA) (original script title)
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Parents Guide:
Add content advisory for parentsRuntime:
124 minCountry:
USALanguage:
EnglishColor:
Black and WhiteAspect Ratio:
1.37 : 1 moreSound Mix:
Mono (RCA Sound System)Certification:
Norway:16 | Argentina:13 | Australia:PG | Denmark:7 (2003) | Finland:K-11 (re-rating) | Finland:K-16 (original rating) | Spain:13 | Sweden:15 | USA:Unrated | UK:A (1947) (cut) | UK:PG (1986)Fun Stuff
Trivia:
The producers of the film were sued in 1948 by Parisian bank employee Henri Verdoux. moreGoofs:
Anachronisms: Although the story takes place in the years 1932-1937, all the women's fashions and hairstyles are strictly in the 1946-1947 mode, when the film was made. moreQuotes:
Henri Verdoux: Wars, conflict - it's all business. One murder makes a villain; millions, a hero. Numbers sanctify, my good fellow! moreFAQ
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This movie is a fine example a genre which attained enormous popularity during and in the decade after World War Two. These so-called "black comedies" (a term perhaps alluding to the funereal subject matter) ranged from fluffy (Noel Coward's "Bithe Spirit" - on stage in 1941, filmed in 1945) to darkly absurd (Ealing's "The Ladykillers" in 1955), turn death into situation comedy. Falling out of favour in the 60s, black comedy returned somewhat in the work of Robert Altman, before being brought back to full glory by the Coen Brothers.
Although the most enduringly successful example of black comedy is perhaps "Arsenic and Old Lace" (stage 1941/film 1944), two of the very greatest filmmakers blessed it with their contributions. Alfred Hitchcock to some extent incarnated the essence of it every time he introduced an episode of "Alfred Hitchcock Presents", but his definitive statement - "The Trouble with Harry" - just preceded the TV shows in 1955.
Charles Chaplin's dark vision, "Monsieur Verdoux", was released in 1947, just before the anti-Communist cries against him were to drive him out of America. A political backdrop is either entirely absent or implicit in the other examples of the genre I've mentioned, but Chaplin makes it explicit, and some might say that, to some extent, this unbalances the last reel of an otherwise utterly brilliant film. Others perhaps will be more sympathetic to the historical context. For me, while completely supporting Chaplin's observations concerning the business of war, the heavy underlining of his message does seem a flaw when viewing the film today.
All the same, "Monsieur Verdoux" is a magnificent achievement, not least in its wonderful gallery of characters, many played by character actors rarely seen on screen. Two in particular stand out, both playing wives of the much-married Verdoux: dour, unsmiling Margaret Hoffman, who goes to her death in an extraordinary scene of darkness followed by sudden light; and Martha Raye, in her best cinematic role, as the wife Verdoux fails to kill. Raye is such an explosion of energy and personality that the screen can barely contain her. To watch her and Chaplin in their scenes together is sheer joy.
The script is witty, the photography excellent, and Chaplin's penchant for sentimentality is held well in check. It is, except for the end, an unusually subtle movie, its tone completely in keeping with its French setting.