In Nazi-occupied Paris, the immoral art dealer, Robert Klein, leads a life of luxury, until a copy of a Jewish newspaper brings him to the attention of the police, linking him with a mysterious doppelgänger. Will Mr Klein clear his name?
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Rainer Werner Fassbinder
Paris, 1942. Robert Klein cannot find any fault with the state of affairs in German-occupied France. He has a well-furnished flat, a mistress, and business is booming. Jews facing discrimination because of laws enacted by the French government are desperate to sell valuable works of art - and it is easy for him to get them at bargain prices. His cosy life is disrupted when he realizes that there is another Robert Klein in Paris - a Jew with rather mysterious behaviour. Soon he attracts the close - and menacing - attention of the police to the art trader.Written by
Eduardo Casais <firstname.lastname@example.org>
Paris art dealer in Vichy France (Alain Delon) who has a small but significant part in the heist of European works of art finds that he is under suspicion after he begins to investigate another man with his name who has a subscription to a government sanctioned Jewish newspaper. Of course, the police have the names and addresses of all the paper's readers, and are also busy organizing for the expulsion of the entire Jewish population of Paris, many of whom are forced to sell their cherished paintings for near nothing, which are then auctioned off to eager buyers. The auctions are formal affairs, dressed up to legitimize the robbery that took place. At the same time, Delon's curiosity about this other man with his name and appearance (Robert Klein) becomes an investigation for him to prove his own identity and roots. In the midst of it all is a brilliantly and subtly portrayed decay of society, especially in a memorably filmed anti-semitic cabaret scene, where German officers mingle with the French upper middle-class, laughing along to an incredibly insulting act.
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