Magnet of Doom

Based on the novel by Georges Simenon, L’Aine des Ferchaux (An Honorable Young Man aka Magnet of Doom) is the story of a young boxer who is hired by a banker to travel with him to New York to collect money as they later go on the run from authorities and other forces. Written for the screen and directed by Jean-Pierre Melville, the film plays into a man trying to find work only to get himself into a much bigger scheme that becomes far more troublesome. Starring Jean-Paul Belmondo, Charles Vanel, Michele Mercier, and Stefania Sandrelli. L’Aine des Ferchaux is a riveting and provocative film from Jean-Pierre Melville.

Following a disappointing end to a once-promising career as a boxer, a man tries to find a job where he is hired by a mysterious banker to travel with him to New York City from Paris to collect money he has in the hopes he can evade family and others while ruling his criminal empire from afar. It’s a film that play into a man that is desperate to have a job where he is asked to accompany a banker with a criminal past to get money that he owes to other partners including family. Jean-Pierre Melville’s screenplay has a unique structure where its first act is set in Paris where the boxer Michel Maudet (Jean-Paul Belmondo) has lost a fight and is now trying to find work where he would sell used clothes and such to get money for himself and his girlfriend. Answering an ad on the paper, Maudet would meet Dieudonne Ferchaux (Charles Vanel) who is dealing with a bank that is failing and people wanting their money back as he knows that he has money in New York City and Caracas, Venezuela.

The second act partially takes place in New York City where Maudet and Ferchaux learn that the latter’s account in the U.S. is on hold due to his criminal background as FBI agents are hoping to extradite him back to France who are also after him. This would lead into a road trip through America towards the South as the two men would encounter their surroundings as well as get to know more about each other which play into their different personalities as Ferchaux just wants to hide while Maudet wants to see America. The film’s third act is set in Louisiana where the two go into hiding at a home which add to the growing tension of different needs and wants between the two as well as Ferchaux trying to protect all he had left.

Melville’s direction does bear elements of style yet much of his direction is straightforward in terms of the compositions he creates. Shot mainly in Paris and studios in Paris with many of the exterior locations in America are shot on those actual locations. Melville would use wide shots to get a look at the locations as well as a few scenes inside a room yet much of it has him shot scenes in a medium shot or in a close-up to observe the relationship between Maudet and Ferchaux. Notably in their first meeting at the latter’s mansion that includes the finest things a rich man can have including beautiful women as it establishes the world that Ferchaux lives in as it’s spacious and having all of these great antiques in a room. Melville’s direction captures so much detail as it play into a world that Maudet wants to be in but knows he has to make some sacrifices to be part of the world. When the film moves to America, it does become a somewhat different film in tone yet Melville does maintain this air of uncertainty in a low-key approach as it play into the dramatic suspense.

Melville’s direction does have a looseness in its approach to capturing the beauty of the American locations that include national parks and such as well as New Orleans where much of the film’s third act takes place. The film’s second act has Melville play into what is at stake where Maudet is aware that trouble is brewing where he is willing to listen to what these FBI agents want but also is sort of protective of Ferchaux. Still, Ferchaux becomes unruly and demanding as Maudet wants to have some freedom of his own where Melville showcases parts of New Orleans as well as a bar/restaurant that he goes to own by a man named Jeff (Todd Martin) who speaks French as he and an associate in Suska (E.F. Medard) have some interest towards Ferchaux that would play into this climax where Maudet either has to be there for Ferchaux or go out on his own. Overall, Melville crafts an evocative and gripping film about a former boxer accompanying a corrupt banker to America to collect money and hide from authorities.

Cinematographer Henri Dacae does brilliant work with the film’s cinematography as it has some vibrant colors for some of the film’s interiors including low-key lights for the house Maudet and Ferchaux lived in Louisiana as well the colorful exteriors for some of the locations in America. Editors Monique Bonnot and Claire Durand do excellent work with the editing as it is straightforward with some rhythmic cuts to play into the drama and some of the film’s suspense. Production designer Daniel Gueret does fantastic work with the look of the interiors of Ferchaux’s home as well as the house in Louisiana in its decayed state and the bar owned by Jeff.

The sound work of Jean Gaudlet and Victor Revelli is superb for its natural approach to sound in the way music is presented in a jukebox or the atmosphere of a certain location. The film’s music by Georges Delerue is incredible for its mixture of whimsical score pieces that play into the world of America as well as somber orchestral piano pieces that play into the sense of the unknown while its music soundtrack a mixture of rock n’ roll and Frank Sinatra which Maudet prefers.

The film’s terrific cast feature some notable small roles and appearances from Todd Martin as a bar/restaurant owner named Jeff who converses with Maudet occasionally to find out about Ferchaux, E.F. Medard as Jeff’s friend Suska, Andres Certes as Ferchaux’s brother Emile who wants his brother to pay him back, Michele Mercier as a French dancer named Lou that Maudet meets in New Orleans, Malvina Silberberg as Maudet’s Parisian girlfriend Lina whom he doesn’t reveal anything to her about his job, and Stefania Sandrelli in a wonderful appearance as an American hitchhiker named Angie that Maudet spends some time with on the road.

Charles Vanel is marvelous as Dieudonne Ferchaux as a corrupt banker with a criminal past that is eager to retrieve money he had saved up to escape from people whom he owes money to hoping to get out of America and go to South America where he later deals with illness and the growing indifference from Maudet. Finally, there’s Jean-Paul Belmondo in a remarkable performance as Michel Maudet as a former paratrooper/boxer whose career in the latter ended disappointingly as he takes a job to accompany Ferchaux unaware of the dangers and demands he has to endure where he tries to find his own freedom as well as realize the importance of the money that Ferchaux is trying to hold on to.

L’Aine des Ferchaux is an incredible film from Jean-Pierre Melville that features great performances from Jean-Paul Belmondo and Charles Vanel. Along with its locations, unusual story, George Delerue’s rapturous score, and gorgeous visuals, the film is a compelling story of a man traveling to America to accompany a man to retrieve money only to be watched by authorities wanting that man and his money. In the end, L’Aine des Ferchaux is a sensational film from Jean-Pierre Melville.

Jean-Pierre Melville: 24 Hours in the Life of a Clown – Le silence de la mer - Les enfants terribles - (Quand tu liras cette letter) - Bob le flambeur - (Two Men in Manhattan) – (Leon Morin, Priest) – (Le Doulos) – Les deuxieme souffle - Le Samourai - Army of Shadows – Le cercle rouge - (Un flic)

© thevoid99 2019

To Catch a Thief

Based on the novel by David Dodge, To Catch a Thief is the story of a reformed cat burglar who is being accused by the authorities over a series of copycat burglaries on rich tourists in the French Riviera as he tries to find out who the copycat is. Directed by Alfred Hitchcock and screenplay by John Michael Hayes, the film plays into a man who uses his old skill as a thief to try and find this thief who is trying to ruin the reformed life he’s already created just as he falls for a beautiful young woman. Starring Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Charles Vanel, and Brigitte Auber. To Catch a Thief is a gorgeous yet compelling film from Alfred Hitchcock.

The film plays into a former thief who had spent more than a decade trying to live a different and more honest life where a series of copycat burglaries on many rich tourists have occurred prompting him to find out who the real thief is before the authorities catch him. While it is a film with a simple premise, it plays into a man who is forced to use his old skills to find out who has been stealing jewels from these rich women vacationing in the French Riviera and why he’s being targeted by everyone including old friends he had from the French Resistance. Along the way, he is aided by an insurance agent who gives him names into people who might be next where he would fall for a young woman who is suspicious about his true identity.

John Michael Hayes’ screenplay takes it time to set the story up where it starts off with a cat burglary and then cut to a woman screaming about losing her jewels where it would escalate prompting the authorities to look after John Robie (Cary Grant) at his villa. Knowing what is going on and the fact that the police don’t trust him even if he is telling the truth forces him to seek the help of his old friends in the Resistance yet they reluctantly do so because they believe he might get them in trouble. With the aid of the insurance agent Hughson (John Williams), Robie pretends to be an American businessman so he can get close to a rich American tourist in Jessie Stevens (Jessie Royce Landis) and her daughter Frances as he believes they are next. Yet, he becomes close to Frances who is suspicious about him as she knows about these burglaries. Still, she is charmed by him where she would play a key role into helping him uncover the identity of the copycat.

Alfred Hitchcock’s direction is ravishing in terms of the setting that he creates as it is shot on location in the French Riviera but also has an air of style in the way he presents the element of suspense. Notably the scenes where these burglaries occur as it often features an image of a cat walking on the roof as it plays into what is happening where it prompts the film to come into place. While Hitchcock makes the French Riviera and its towns characters with a lot of gorgeous wide shots, it is really more of a backdrop to the world that Robie lives in where he has to find somewhere safe where he wouldn’t be captured by the authorities. Using lots of medium shots and close-ups, Hitchcock definitely plays up some of the film’s humor but also finds way to play up its suspense such as a few chase scenes in the mountains in the Riviera as well as some moments that play out in some of the villas. The romantic scenes between Robie and Frances are presented in a stylish yet playful manner while it would also have some subtle references into how far they go into their attraction. The film’s climax is among one of the most inventive where it’s lavish as well as gripping to see who is this copycat as it is a sequence that is just fun to watch. Overall, Hitchcock creates a thrilling and exhilarating film about a thief trying to capture a copycat to clear his own name.

Cinematographer Robert Burks does amazing work with the film‘s very colorful cinematography in capturing the lush colors of the French Riviera in its daytime exterior settings to its usage of lights for the scenes at night to play into the suspense and drama. Editor George Tomasini does brilliant work with the editing as it is stylish in its rhythmic cuts to play into some of the humor as well as slowing things down for its suspenseful moments. Art directors J. McMillan Johnson and Hal Pereira, with set decorators Sam Comer and Arthur Krams, do fantastic work with the look of the hotel rooms some of the characters stay as well as the villa that Robie lives in.

Costume designer Edith Head does excellent work with the design of the gowns that Frances wear as well as her mother to play into their posh lifestyles as well as the costumes for the film‘s climatic costume ball. Sound editors Howard Beals and Bill Wistrom do terrific work with the sound to play into many of the locations as well as the sparse moments in the burglary sequences. The film’s music by Lyn Murray is superb for its orchestral-based score with some lush string arrangements as it has some soaring themes for the romantic moments along with some intense pieces for its suspenseful moments.

The film’s remarkable cast include some notable small roles from Rene Blancard as the police commissioner, Georgette Anys as Robie’s housekeeper Germaine, Jean Martinelli as an old friend of Robie in a restaurant employee named Foussier, and Charles Vanel as the restaurant owner Bertrani who reluctantly helps Robie out to evade the police. Brigitte Auber is wonderful as Foussier’s daughter Danielle as a young woman who knows Robie as she suspects that he’s up to no good. John Williams is excellent as Hughson as an insurance agent who wants to help Robie find the stolen jewelry in the hopes that his insurance company can save face where he is one of the few that believes that Robie is telling the truth.

Jessie Royce Landis is fantastic as Mrs. Jessie Stevens as Frances’ mother who is this very fun woman that likes to drink Bourbon as she knows what is going on as she wonders what will happen as she also think that Robie is innocent. Grace Kelly is amazing as Frances Stevens as this woman who is wary of Robie’s presence as she is a woman of style but also a witty personality where she can also be the smartest person in the room. Finally, there’s Cary Grant in a brilliant performance as John Robie as a former cat burglar who is accused over recent thefts as he is forced to use his old skills to find the thief where it’s a performance that has Grant be charming but also display some humility as it is one of his finest performances.

To Catch a Thief is a spectacular film from Alfred Hitchcock that features incredible performances from Cary Grant and Grace Kelly. Along with a brilliant supporting cast and a crafty premise, the film isn’t just one of Hitchcock’s quintessential films but also one of his most entertaining. Especially for its inspiring usage of the locations and his approach to subtlety in the romantic elements of the film. In the end, To Catch a Thief is a sensational film from Alfred Hitchcock.

Alfred Hitchcock Films: (Number 13) - (The Pleasure Garden) - (The Blackguard) - (The Mountain Eagle) - (The Lodger) - (A Story of the London Fog) - (The Ring) - (Downhill) - (The Farmer’s Wife) - (Easy Virtue) - (Champagne) - (The Manxman) - (Blackmail) - (Juno and the Paycock) - (Murder!) - (The Skin Game) - (Mary) - (Lord Camber’s Ladies) - (Rich and Strange) - (Number Seventeen) - (Waltzes from Vienna) - (The Man Who Knew Too Much (1934 film)) - The 39 Steps - (Secret Agent) - (Sabotage) - (Young and Innocent) - The Lady Vanishes - (Jamaica Inn) - Rebecca - (Foreign Correspondent) - (Mr. & Mrs. Smith) - Suspicion - (Saboteur) - (Shadow of a Doubt) - Bon Voyage - Lifeboat - (Spellbound) - Notorious - (The Paradine Cage) - Rope - (Under Capricorn) - (Stage Fright) - Strangers on a Train - I Confess - Dial M for Murder - Rear Window - (The Trouble with Harry) - The Man Who Knew Too Much (1956 film) - (The Wrong Man) - Vertigo - North by Northwest - Psycho - The Birds - Marnie - (Torn Curtain) - (Topaz) - (Frenzy) - (Family Plot)

© thevoid99 2015

Les Diaboliques

Based on the novel Celle qui n’etait plus (She Who Was No More) by Pierre Boileau and Thomas Narcejac, Les Diaboliques is the story about a woman and her husband’s mistress conspiring to kill the man where strange things happen when his body suddenly disappears. Directed by Henri-Georges Clouzot and screenplay by Clouzot and Jerome Geronimi that also features additional contributions by Rene Masson and Frederic Grendel, the film is an exploration of murder and its aftermath where guilt and such start to unfold. Starring Simone Signoret, Vera Clouzot, Paul Meurisse, and Charles Vanel. Les Diaboliques is a chilling suspense film from Henri-Georges Clouzot.

At an all-boy’s school in France, the frail Christina Delassalle (Vera Clouzot) is dealing with her cruel husband Michel (Paul Meurisse) who is the school’s headmaster. Michel also has a mistress in the teacher Nicole Horner (Simone Signoret) as their affair is quite known with the staff as Christina also knows about it. Yet, the affair is taking on a downward turn as Nicole and Christina conspire to get rid of Michel over his cruelty towards everyone including the students as the two women go away for the weekend at Nicole’s apartment in another town. Michel plans to make a visit after learning that Christina wants to divorce as he confronts her at Nicole’s apartment where he drinks the wine that Nicole has poisoned. After Nicole drowns him in a tub, the two put the body in a drunk as she and Christina drive back to the school as they dump in the school’s dirty pool.

Continuing their work as teachers, Christina and Nicole notice something is going on when the school’s gamekeeper Plantiveau (Jean Brochard) has been cleaning the school’s pool. After draining it, Christina and Nicole notice the body is missing where Christina begins to panic and feel guilty over what happened. When Nicole reads a newspaper report about a body being found at the Seine River, Christina goes to the morgue to identify the body where she meets a retired private detective named Alfred Vichet (Charles Vanel) who is intrigued by her story as she wants to find her husband. Alfred decides to help Christina after a claim from a boy abut seeing Michel as she and Nicole wonder if Michel is really alive after Nicole sees a picture. After Nicole decides to leave the school with Christina ailing from her heart condition, Vichet makes a visit with some notes he made as Christina deals with all of the guilt she faces as well as a major surprise.

The film is essentially a psychological thriller that revolves around two women who want to kill a cruel man and get rid of his body only for something to go wrong when the body suddenly disappears. This leads to all sorts of issues for the two women as the wife becomes fraught with guilt and paranoia as she also has a weak heart condition. For her husband’s mistress, she’s the one trying to control the situation only to realize that the disappearance of the body and the possible appearance of this man is beyond her control as a former private detective starts to get involved. This would lead to all sorts of questions and everything as it leads to some harsh revelations about this man and everything else.

The screenplay does a great job in building up the element of suspense by taking things slow by establishing the relationships between Christina, Nicole, and Michel as where it’s an uneasy love triangle that has Michel being cruel to everyone. He’s much harsher to the very ill Christina who wants out of the marriage as she teams up with Nicole to get rid of Michel any way they can. The first half is about the planning to kill Michel and the murder while the second half is about his body disappearing as well as Christina’s guilt as she turns to Vichet for help that would eventually complicate everything. Vichet is the film’s wild card as he would definitely steer things in the third act that would unveil lots of things along with some of the revelations that occur.

Henri-Georges Clouzot’s direction is definitely mesmerizing in terms of the compositions he creates as well as his approach to suspense. Particularly in taking the time to establish the characters and the situations that would drive Nicole and Christina to make plans to kill Michel. Through some very stylish scenes of the two women riding in a truck that would later carry the body as well as some very straightforward but ominous framing to display the sense of terror that might happen. Clouzot also takes the time to shoot certain objects in order to maintain this unsettling atmosphere where his camera would gaze at the pool or something to see if there is something out there.

Clouzot’s direction also becomes much more brooding as the film reaches the second act through these very strange moments such as the mysterious person in the picture as well as a boy’s claim he saw Michel. Even as Clouzot becomes much more atmospheric in his approach to scenery such as Nicole’s walk towards the darkened hallway or Christina’s walk towards the building to see what is out there. This would lead to some startling reveals and scary moments that really makes the suspense payoff along with more ambiguities that are followed towards the end of the film. Overall, Clouzot creates a very fascinating yet hypnotic suspense film that explores the world of murder and guilt.

Cinematographer Armand Thiraud does amazing work with the film‘s stylish black-and-white photography for some of the film‘s nighttime interiors to help set a mood for the scene and help play out its suspense. Editor Madeleine Gug does brilliant work in creating methodical cuts to build up the film‘s suspense as well as some stylish rhythmic cuts for the suspenseful payoffs. Art director Leon Barsacq does excellent work in the look of the school building the characters live and surround themselves in as well as the apartment that Nicole lives in.

The sound work of William-Robert Sivel is terrific for the low-key atmosphere it creates such as the scene in the apartment where Nicole and Christina try to kill Michel as well as some tense moments involving the students during dinner time. The film’s music by Georges Van Parys is wonderful as it is mostly orchestral-based music that only plays at the film’s opening and closing credits of the film.

The film’s ensemble cast is superb as it features some noteworthy small roles from Noel Roquevert and Therese Dorny as Nicole’s neighbors at the apartment building, Pierre Larquey and Michel Serrault as fellow teachers at the school, and Jean Brochard as the gamekeeper Plantiveau. Charles Vanel is great in a small yet crucial role as the private detective Alfred Fichet as he is intrigued by Christina’s desperation as he would piece all of the puzzles about what really happened. Paul Meurisse is excellent as the slimy and cruel Michel Delassalle who is such a jerk to everyone including the women in his life as he’s the guy everyone loves to hate.

Vera Clouzet is brilliant as the guilt-ridden Christina as she tries to deal with Michel’s cruelty and the deed that she did as becomes overwhelmed as it would affect her health. Finally, there’s Simone Signoret in a harrowing performance as Nicole Horner as she maintains a restrained yet dark performance as a woman trying to maintain control of the situation while creating an ambiguity to her character.

Les Diaboliques is an incredible thriller from Henri-Georges Clouzot that features outstanding performances from Simone Signoret and Vera Clouzot. The film is truly a suspense film that doesn’t play to conventions nor does it try to cheat its audience by having them invested in the mystery. It’s also a film that explores the world of guilt and paranoia in the aftermath of committing a crime as well as maintaining that air of mystery of is this guy really dead or not? In the end, Les Diaboliques is a haunting yet enthralling film from Henri-Georges Clouzot.

Henri-Georges Clouzot Films: (Caprice de Princesse) - (Tour pour l’amour) - (The Murderer Lives at Number 21) - (Le Corbeau) - (Quai des orfevres) - (Manon) - (Miquette et sa mere) - The Wages of Fear - (Les Espions) - (La Verite) - (Grands chef d’orchestre) - (La Prisonniere)

Related: Henri-Georges Clouzot's Inferno

© thevoid99 2012

The Wages of Fear

Directed by Henri-Georges Clouzot and written by Clouzot and Jerome Geronimi that is based on a novel by Georges Arnaud, Le Salaire de la peur (The Wages of Fear) is the story about four European men carrying nitroglycerine to extinguish a fire at a South American oil well through treacherous terrains. Starring Yves Montand, Charles Vanel, Peter van Eyck, and Folco Lulli. Le Salaire de la peur is a gripping yet mesmerizing suspense film from Henri-Georges Clouzot.

A group of foreign men are in a South American town taking odd jobs to get by as they’re seeking for some bigger job at a nearby American oil company. Arriving into town is an ex-gangster named Jo (Charles Vanel) where he meets a young Frenchman named Mario (Yves Montand) as Mario shows him around town. While Jo tries to make some deals with the company foreman Bill O’Brien (William Tubbs), Mario tries to flirt around with the bar’s waitress Linda (Vera Clouzot). Though Jo is seen as the big shot, he’s not favored by everyone including the hardworking Luigi (Folco Lulli). When news of an explosion at an oil well that has killed four men, O’Brien needs four men to drive two big trucks filled with nitroglycerine to stop the fire. Mario and Luigi are hired along with a Dutchman named Bimba (Peter van Eyck) and a German named Smerloff (Jo Dest).

When Jo manages to smooth his way to take the job, he joins Mario on the first truck while Bimba and Luigi drive the second as they go through the treacherous terrain to the oil well. The four men take turns to drive though it’s clear that despite Mario’s admission to being scared and his need for Jo to help him. Jo becomes ill and starts to become fearful while the four men go through many dangers including and old mine and a huge rock blocking the road. The ordeal would be tough on all four as Mario is forced to deal with Jo’s sudden behavior as it becomes erratic. With a bigger challenge emerging, Mario ponders about the journey he’s been through.

The film is about four guys trying to find some big payoff by taking on this big job. Yet, the job means having to go into a suicide mission carrying an entire truckload of nitroglycerine through these horrific terrains and roads that leads to the big oil well so that a fire can be stopped. Still, there’s the journey where it becomes more than just dangerous on a physical level but also from an emotional and mental perspective. The four men would deal with their own fears and how to handle situations where one would fall apart as his partner is forced to try and get him to calm down.

The screenplay that Henri-Georges Clouzot and Jerome Geronimi create is about these men in the world they live in as the film has a structure that is very different. The first half is about the men themselves and their own lives as they each try to deal with trying to find work and live in this very poor South American town. One of the men is a kind laborer hoping to return to Italy while the other is an intense yet quiet Dutchman who spent his years working in the salt mines. Then, there’s these two different Frenchmen as one is a young playboy while the other is an aging ex-gangster. The first half of the film spends a lot of time with the two men along with various others all trying to find some work and make some money in this poor town that is run by an American oil company. While the company are seen as villains, Clouzot nor Geronimi aren’t making some kind of political or social statement towards American corporations other than the fact that they are known for exploiting poor regions in the world.

By the time it gets to the second half, the film changes into this suspenseful yet thrilling adventure where it’s all about what to do on the road. That half is definitely a more engaging portion of the film because of what happens in the journey. Through these challenges such as a series of very dangerous roadways, a very narrow turn near a cliff, a rock, and later a big crater as they‘re all carrying an entire truckload of nitroglycerine, which makes the journey more dangerous. While two of them end up working together very well and manage to maintain some control, there’s two more that are dealing with other issues such as their own fears and to try and to get to their destination. The stakes become more intense as the journey progresses where there is something that’s going to happen. The script’s success is due to the structure of the film where the first half is about these four men and the second half is the journey and what they hope to gain from it.

Clouzot’s direction is very entrancing in the way he presents the film in its different ideas towards the narrative and story. The first half is a more lighthearted yet intriguing drama where there’s elements of melodrama and character study with dabbles of humor. The direction for the most part is quite straightforward but also dwells into the lives of these men and the people that surround them. There’s also some tension throughout that includes a showdown between the working-class Luigi and the more experienced yet successful Jo. The latter of which is a man that can slime his way into anything in hopes that there’s a big payday.

For its second half, the tone of the film changes as it becomes this more harrowing film where the journey is very dangerous. There’s a claustrophobia to the roads and locations they’re driving in as they’re either quite narrow or unsafe because it’s bumpy or has lots of potholes. The camera is always showing the tires and from a point-of-view of the driver. Clouzot’s direction becomes more direct towards what is happening as the action sequences are slow but captivating over what these four men could do in the situations they’re facing. The ending of the film revolves around what was accomplished but also what was lost as it moves back and forth into two different scenes leading to a climatic moment about all that had happened. The overall result in Clouzot’s direction is a film that is chilling but magnificent for its approach to suspense.

Cinematographer Armand Thirard does a great job with the film‘s black-and-white photography to exemplify the broad yet sunny look of the small town the characters live in to more haunting yet stylish look for some of the nighttime scenes. Notably the scenes in the road where the camera work is more engaging for the action as Thirard’s photography is a major highlight of the film. Editors Henri Rust and Madeleine Gug do an amazing job with the editing in giving a lot of the film’s first half some stylish transitional wipes to maintain a steady yet methodical pace for that section. For the second half, the pacing is a bit slower to maintain that element of suspense and chills as it’s definitely engrossing as it’s another of the films technical highlights.

Art director Rene Renoux does a very good job with the set pieces created such as the bar that many of the men hang out to the decayed mine that the four men had to encounter in their journey. The sound work of William Robert Sivel is brilliant for the raucous atmosphere of the city including the bar where there‘s music and dancing played. The sound for the film‘s second half is mostly sparse with only the noise of the truck and locations present in that section to emphasize on its suspense. The music of Georges Auric is superb for its haunting yet acoustic guitar-driven introduction in the opening credits while a lot of the music in the film ranges from Latin American folk and dance music of the time to classical pieces that’s played on location.

The casting for the film is excellent as it features some notable small performances from Luis de Lima as a young Italian man named Bernardo, Jo Dest as the German Smerloff, Dario Moreno as the bar owner Hernandez, William Tubbs as the American foreman O’Brien, and Vera Clouzet as the flirtatious yet dramatic Linda who is in love with Mario. Peter van Eyck is wonderful as Bimba, a Dutch miner who likes to keep things straight as he becomes the biggest risk taker when dealing with a huge roadblock that threatens the job. Folco Lulli is brilliant as the upbeat yet no-nonsense Luigi, a laborer that just wants to get paid and return home for a good life as he’s the most upbeat of the four men.

Charles Vanel is great as Jo, a former gangster who tricks his way into getting the job unaware of the dangers that he’s facing as he becomes a coward due to his illness and old age. Finally, there’s Yves Montand in a phenomenal performance as Mario. Montand brings a nice complexity to a man who is charming but mysterious man who likes to flirt with Linda while also being sort of cruel to her at times. Montand also shows a real everyman quality to a man who is determined to get the job done as it’s definitely a very captivating performance.

Le Salaire de la peur is a spectacular yet powerful suspense film from Henri-Georges Clouzet. Featuring a towering lead performances from Yves Montand, the film is truly one of the most engaging and compelling films ever made for its suspenseful action sequence as well as its devotion to get to know its characters. For anyone that is into suspense films should see this as an essential piece of how it should be done. In the end, Le Salaire de la peur is a haunting yet exhilarating film from Henri-Georges Clouzet.

Henri-Georges Clouzot Films: (Caprice de Princesse) - (Tout pour l’amour) - (The Murderer Lives at Number 21) - (Le Corbeau) - (Quai des orfevres) - (Manon) - (Miquette et sa mere) - Les Diaboliques - (Les Espions) - (La Verite) - (Grand chefs d’orchestre) - (La Prisonniere)

Related: Sorcerer - Henri-Georges Clouzot's Inferno

© thevoid99 2011