Jouvet's Maigret-esque cop gets all the best lines, and gives the film its human, tragic focus.
Quai des Orfèvres (1947)
Tomatometer
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Reviews Counted:30
Fresh:30
Rotten:0
Average Rating:8.3/10
Consensus: Henri-Georges Clouzot's engrossing noir explores the troubles of post-war France and the line dividing social struggle and criminality.
Runtime: 1 hr 46 mins
Genre: Foreign Films
Synopsis: Jenny Lamour (Suzy Delair) is a singer who is prepared to become a sensation. However, she doesn't do it in the field of music. Instead she is embroiled in this tale of intrigue which involves her... Jenny Lamour (Suzy Delair) is a singer who is prepared to become a sensation. However, she doesn't do it in the field of music. Instead she is embroiled in this tale of intrigue which involves her accompanist and husband murdering a man who Jenny has made seductive eye contact with. Henri-Georges Clouzot directs this thriller full of rich complex characters and a dark world view, perhaps attributable to Clouzot's own experience with LE CORBEAU, his previous film which was banned by both Nazi Germany and his French homeland. [More]
Starring: Suzy Delair, Louis Jouvet
Starring: Suzy Delair, Louis Jouvet
Director: Henri-Georges Clouzot
Director: Henri-Georges Clouzot
Reviews for Quai des Orfèvres
A superior noirish thriller which gets right under the skin of the seedy world it inhabits.
While the story is thin, Clouzot uses his immense skills to raise the picture above the standard for the genre.
Released in America as Jenny Lamour, Henri-Georges Clouzot’s story of ambition, murder, mystery and cover-up -- and their all-too-human foundations -- holds up remarkably well.
A splendid find -- part policier and part marital comedy, replete with that winking, twisting sexuality that the French have always done so well.
An elegant show-biz noir that weaves an intricate web of deception and intrigue.
A riveting noir-ish mystery that is unforgettable in just about every way.
A noirish, backstage whodunit that throws together a sweet-hearted floozy, the jealous husband from hell and a detective who just might be the funniest Gallic grouch in the history of the movies.
While Delair is lively and appealing, Charles Dullin is magnificently creepy as the murder victim.
The ignoble suspicions of Le Corbeau still churn under the razzmatazz surface
one of Henri-Georges Clouzot’s greatest films, an influential thriller that is also a great character study.
For once, the character flaws are genuine human foibles instead of a screenwriter's idea of easily solved psychoses. These twitchy characters are pleasingly three-dimensional.
Clouzot is able to reveal a complex and interactive working-class world in which cops and criminals are sometimes difficult to tell apart.
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