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L'étrange Madame X (1951)

Not Rated | | Drama | 24 May 1951 (France)
Can a person really lead a double life? It looks as though Irène can. On the one hand, she is the wife of Jacques Voisin-Larive, a big name in the publishing world. On the other hand she ... See full summary »

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Writers:

(original scenario), (dialogue) | 1 more credit »
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Cast

Cast overview, first billed only:
...
Irène Voisin-Larive
...
Étienne
Arlette Thomas ...
Jeanette
Louise Conte ...
Angèle (as Louise Conte sociétaire de la Comédie Française)
Robert Vattier ...
Moissac
Paul Barge ...
L'oncle Léon
Roland Alexandre ...
Marcel
Fernand Gilbert
Raphaël Patorni ...
Un invité
Yvonne Clech ...
Joséphine
Georges Sellier ...
Le général
Geneviève Morel ...
Une invitée
René Hell ...
Un ouvrier
Christian Lude ...
Le chauffeur d'Irène
Louis Blanche ...
Un invité
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Storyline

Can a person really lead a double life? It looks as though Irène can. On the one hand, she is the wife of Jacques Voisin-Larive, a big name in the publishing world. On the other hand she pretends to be a simple chambermaid when she is with Etienne, a handsome young cabinetmaker. But what will happen when Irène gets pregnant? Written by Guy Bellinger

Plot Summary | Add Synopsis

Plot Keywords:

double life | pregnancy | adultery | See All (3) »

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

24 May 1951 (France)  »

Also Known As:

Sündige Liebe  »

Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.37 : 1
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Trivia

French visa # 10634. See more »

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User Reviews

 
Physicality and mise-en-scene
10 October 2006 | by (Australia) – See all my reviews

Thanks DB For me the big surprise is the virtually archetypal "Cinema de Qualite"/Studio look of the film - extreme low contrast, highly lit "luxe". The mise-en scene otherwise is quite unlike earlier Gremillons

  • no whip pans, anticipatory or reactive camera movements,etc and what


seems like fairly routine decoupage based scene construction. Certainly compared to, say, Gueule d'Amour there is no change in the pearly tonalities of the image.

But the focus on the actors' physicality, in particular Henri Vidal is pushing my gaydar way into the red. There's something going on here behind the obvious. Gremillon's camera seems to give him the attention and the unblinkingly loving eye that Grem only otherwise gives to men - very briefly - in the opening prison scene of la Petite Lise, or the handsome dancing stranger who "takes" the Gypsy girl Zita during the ball scene in Maldone. Or the final image of Gabin and Rene Lefevre together at the end of Gueule. Many more viewings required however.


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