Reign of Terror (1949)

Robespierrre, a powerful figure in the French revolution, is desperately looking for his black book, a death list of those marked for the guillotine.

Director:

Anthony Mann

Writers:

Philip Yordan (story by), Æneas MacKenzie (story by) (as Aeneas MacKenzie)

Stars:

Robert Cummings, Richard Basehart, Richard Hart

Cast

Complete credited cast:
Robert Cummings	...	Charles D'Aubigny
Richard Basehart	...	Maximilian Robespierre
Richard Hart	...	François Barras
Arlene Dahl	...	Madelon
Arnold Moss	...	Fouché
Norman Lloyd	...	Tallien
Charles McGraw	...	Sergeant
Beulah Bondi	...	Grandma Blanchard
Jess Barker	...	Saint Just

Storyline

Robespierre, a powerful figure in the French Revolution and the subsequent Reign of Terror, is desperately looking for his black book, a death list of those marked by him for the guillotine and a key to help him eventually emerge as the country's dictator. He hopes his agents will recover it, but, if it falls in to the wrong hands, it would mean his political ruin and death.

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Plot Keywords:

french revolution | guillotine | dictator | reign of terror | terror | 

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Genres:

History | Romance | Thriller | War

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Certificate:

Approved

Details

Country:

USA

Language:

English

Release Date:

15 October 1949 (USA)

Also Known As:

The Black Book

Filming Locations:

Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company Credits

Production Co:

Walter Wanger Productions

Technical Specs

Sound Mix:

Mono (Western Electric Recording)

Color:

Black and White

Aspect Ratio:

1.37 : 1

Did You Know?

Trivia

Film debut of Dabbs Greer.

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Goofs

In a conversation with D'Aubigny, Robespierre states that he turned 36 years old in the month of May. However, during their Reign of Terror, the French revolutionaries changed many things, including the calendar. They discarded the traditional Gregorian calendar (January, February, etc.) in favor of a new, decimal-based system, and called it the French Republican Calendar . There were still 12 months, but now each month had 3 10-day weeks (for 30 days) and all of the months were re-named. What would have been the month of "May" in the Gregorian calendar was changed to "Prairial" in the new calendar. ("Prairial" translates to prairie or meadow.) So being a good revolutionary, Robespierre would have used this new calendar and not the old one when referring to dates. He should have said he "turned 36 years old in Prairial" and not "May."

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Quotes

Fouché: [Last lines] Robespierre planned on having statues built of himself. But all he leaves behind him... is stale bread.
Napoleon Bonaparte: [His face isn't shown] The end is always being put to some use in France, citizen. The art of being a Frenchman is knowing what comes next.
Fouché: Have you any idea?
Napoleon Bonaparte: I am neither a Frenchman nor a politician. I am merely a soldier.
Fouché: Well, my friend, I must be off. Perhaps we shall meet again some time.
Fouché: [stops, turns around] Oh, uh, by the way, I don't believe I got your name.
Napoleon Bonaparte: My name is ...
[...]

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Connections

Referenced in Bowser Makes a Movie (2005)

User Reviews

Mann, Alton view French Revolutionary adventure through film noir's lenses

Out of the chaos and carnage of the French Revolution, Anthony Mann fashions not a sweeping historical epic à la A Tale of Two Cities but a tight and shaded suspense story. His gifted collaborator is director of photography John Alton, whose preference for the murky suggestively limned with light was never so evident as in his work here, in country inns and the cellars of bakeshops and the cobbled pavements of torchlit Paris.

The plot centers on Robespierre (a peruked Richard Basehart), who has embarked on a spree of mock trials and executions of his rivals in preparation to having himself proclaimed dictator; he's just disposed of Danton. A less than adulatory element loyal to the ideals of the newly formed Republic, but not to its current leaders, aims to stop him. One of their operatives (Robert Cummings) infiltrates Robespierre's inner circle by posing as the `butcher of Strasbourg,' a regional tyrant as bloodthirsty as Robespierre himself.

But in the circle of men closest to the power of the state, trust is a commodity in short supply; they watch their own backs and scheme to stab each others'. It's Cummings' job to negotiate this maze of duplicity and locate Robespierre's `black book,' in which he records neither his amatory conquests nor vintages he's sampled but his next victims. Exposure of this book will mean Robespierre's downfall. With the aid of proto-Bondgirl Arlene Dahl, Cummings races the clock in a round of near-fatal wild goose chases.

Reign of Terror remains a costumed adventure – a chase movie – but Mann paces it swiftly and slyly. And, fresh from some ground-breaking work in film noir, he and Alton give it a compellingly sinister look. Most period pieces are lit as if on the equator at high noon; this has to be the inkiest costume movie ever filmed (even Charles McGraw, as a bearded soldier of the Republic, goes all but unrecognizable). The darkness doesn't limit itself to the lighting – the script, by Aeneas MacKenzie and Philip Yordan, rustles with ambiguous motives and queer twists. There's even an ironic note of premonition sounded at the end, when the slimy survivor Fouché (Arnold Moss), asks the name of a young soldier. `Bonaparte,' comes the answer. `Napoleon Bonaparte.'