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Quai des Orfèvres (1947)

 |  Crime, Drama, Music  |  5 March 1948 (USA)
7.7
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Ratings: 7.7/10 from 3,231 users   Metascore: 89/100
Reviews: 24 user | 33 critic | 10 from Metacritic.com

Jenny Lamour wants to succeed in music hall. Her husband and accompanist is Maurice Martineau, a nice but jealous guy. When he knew Jenny is making eyes at Brignon, an old businessman, in ... See full summary »

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(as H. G. Clouzot)
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Title: Quai des Orfèvres (1947)

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Cast

Cast overview, first billed only:
...
...
...
...
Pierre Larquey ...
Emile Lafour, un chauffeur de taxi
Jeanne Fusier-Gir ...
Claudine Dupuis ...
Manon
Charles Dullin ...
Georges Brignon
Henri Arius ...
Léopardi, l' éditeur de musique (as Arius)
Charles Blavette ...
Le gendarme Poitevin (as Blavette)
René Blancard ...
Le commissaire principal de la P.J. (as R. Blancard)
Robert Dalban ...
Paulo, un truand (as R. Dalban)
Jean Daurand ...
L'inspecteur Picard (as J. Daurand)
Jean Dunot ...
Nitram - un chanteur comique (as J. Dunot)
Jacques Grétillat ...
Auguste (as J. Grétillat)
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Storyline

Jenny Lamour wants to succeed in music hall. Her husband and accompanist is Maurice Martineau, a nice but jealous guy. When he knew Jenny is making eyes at Brignon, an old businessman, in order to get some engagements, he looses his temper and threatens Brignon with death. But Jenny went anyway to a rendez-vous at the old man's, who is murdered the same evening. The criminal investigations are lead by Inspector Antoine... Written by Yepok

Plot Summary | Add Synopsis

Genres:

Crime | Drama | Music

Certificate:

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Details

Official Sites:

Country:

Language:

Release Date:

5 March 1948 (USA)  »

Also Known As:

Jenny Lamour  »

Filming Locations:

 »

Box Office

Opening Weekend:

$13,139 (USA) (1 November 2002)

Gross:

$152,961 (USA) (1 August 2003)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (censored)

Sound Mix:

(Western Electric Variable Density)

Aspect Ratio:

1.37 : 1
See  »
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Did You Know?

Trivia

Clouzot wrote almost two-thirds of the film only having read the novel years before, recalling it from memory, since it was out of print by the time he started the screenplay. When Stanislas-André Steeman saw the film, he was furious about the differences between the novel and the film. See more »

Goofs

When Antoine is repeating Maurice's deposition to the typist, he says that the confrontation between Maurice and Brignon at the restaurant took place on Wednesday, December 2, 1946. In 1946, December 2 fell on a Monday. See more »

Connections

Edited into Histoire(s) du cinéma: La monnaie de l'absolu (1998) See more »

Soundtracks

Avec son tralala
Music by Francis Lopez
Lyrics by André Hornez
Performed by Suzy Delair
See more »

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User Reviews

 
Clouzot's Least Dark Suspense Thriller
2 November 2008 | by (Cincinnati, OH, United States) – See all my reviews

The extraordinarily adorable Suzy Delair plays a statuesque performer obsessed with succeeding in the theater. Her husband and accompanist, played by Bernard Blier, is a composed but jealous man. When he finds out in a less than preferable way that his flashy wife has planned a rendezvous with a lecherous old businessman with the intention of advancing her career, he loses all control and threatens the businessman with murder. Now, at that point, I must stop describing the film to you because it skates on such thin ice with its twists, revelations, ambiguities and suspense that to imply any of it would endanger it. I am not sure how good or bad that is for this French police procedural emanating from the song- and-dance community, though it is certainly interesting that what we do know throughout is who did not do it. We just don't know who did.

The story depends upon the procedure of following clues, where ideal alibis fail and where cautiously created fabrications and deceptions disintegrate. Interestingly, this is a suspense film in which suspense is generated in spite of the knowledge one would traditionally think too much too soon.

Quay of the Goldsmiths is the least dark of Henri-Georges Clouzot's films. It's nowhere near as sinister as the shocking Les Diaboliques, as tragic as the riveting Wages of Fear or as eery as Le Corbeau. Maybe it is due to the vibrance of the dance halls and theater settings of 1940s France, which all work as the milieu of this crime thriller.

Clouzot both understands and approves of his characters, even the more rotten ones, where he has more of a vindictive streak with his other films. Where he may have had understanding for the scheming women in Les Diabolique or the truck drivers who sink to the level of risking horrible death in order to oust themselves from miserable life in The Wages of Fear, there isn't necessarily support or agreement on the part of the filmmaker, for these are characters who plainly made the direct decisions that determine their fate. All the characters in this more settling film have scenes and moments that endear us to them, even the harsh, cold detective played by Louis Jouvet, who worries about his young adoptive son amid all the trouble and despair that happens in his life at any time with the drop of a hat.

There is humor and unabashed sexiness, the latter mostly on the part of Delair, that neutralize the pressure to a degree. Clouzot was quietly practicing his craft, patient till he made his unrelenting later films, in which he would permit his audiences no pardon from the tension.


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