I would be surprised were Gilles Grangier to be in anyone's pantheon of great directors but Jean Gabin liked him enough to make no less that twelve films with him. Their collaborations in the sixties do not alas amount to much but their films of the fifties are of great interest, notably 'Sang a la Tete' and this policier, adapted from his own novel by Jacques Robert with splendid dialogue by the ubiquitous Michel Audiard.
The human touch, so often lacking in hard-boiled films of this type, is supplied by Jean Gabin's 'straight and narrow cop' and Nadja Tiller's 'junkie'. It is their relationship that holds the film together. Although her character admits to being twenty-three, Fraulein Tiller is in fact nearer thirty here but there is still a twenty-five year difference in age between her and Monsieur Gabin. This does not seem to matter as he is well-tailored, keeps his clothes on, the lighting is subtle and they have a definite simpatico. Gabin again gets away with it the following year in the excellent 'En Cas de Malheur' with an even younger Brigitte Bardot. Despite their rather gruff and blokish demeanor both Gabin and his natural successor Lino Ventura had a distinct chemistry with their leading ladies.
One of Gabin's favourite cinematographers Louis Page is again on duty here. The music is jazzy and might 'perhaps' have been influenced by Miles Davis' ground breaking score to 'L'Ascenseur pour L'Echafaud' released the same year.
There is also the presence of talented jazz pianist/vocalist Hazel Scott in what I believe is her only French film following her unfortunate departure from America. For those who have an interest I would strongly recommend the television documentary entitled, rather appropriately, 'Whatever happened to Hazel Scott?'
One must not forget, in fact one can never forget, the divine Danielle Darrieux. Her performance transcends what is, on paper anyway, a 'minor' role.
Policiers were becoming noticeably more hard-hitting during this period and despite containing elements which are bound to occasion a few 'tut-tuts' from the PC brigade, this one has certainly stood the test of time.
The human touch, so often lacking in hard-boiled films of this type, is supplied by Jean Gabin's 'straight and narrow cop' and Nadja Tiller's 'junkie'. It is their relationship that holds the film together. Although her character admits to being twenty-three, Fraulein Tiller is in fact nearer thirty here but there is still a twenty-five year difference in age between her and Monsieur Gabin. This does not seem to matter as he is well-tailored, keeps his clothes on, the lighting is subtle and they have a definite simpatico. Gabin again gets away with it the following year in the excellent 'En Cas de Malheur' with an even younger Brigitte Bardot. Despite their rather gruff and blokish demeanor both Gabin and his natural successor Lino Ventura had a distinct chemistry with their leading ladies.
One of Gabin's favourite cinematographers Louis Page is again on duty here. The music is jazzy and might 'perhaps' have been influenced by Miles Davis' ground breaking score to 'L'Ascenseur pour L'Echafaud' released the same year.
There is also the presence of talented jazz pianist/vocalist Hazel Scott in what I believe is her only French film following her unfortunate departure from America. For those who have an interest I would strongly recommend the television documentary entitled, rather appropriately, 'Whatever happened to Hazel Scott?'
One must not forget, in fact one can never forget, the divine Danielle Darrieux. Her performance transcends what is, on paper anyway, a 'minor' role.
Policiers were becoming noticeably more hard-hitting during this period and despite containing elements which are bound to occasion a few 'tut-tuts' from the PC brigade, this one has certainly stood the test of time.