Crime / Drama / Thriller

IMDb Rating 7 10 831


Downloaded 5,858 times
September 3, 2019



Lino Ventura as Roger le Catalan
720p.BLU 1080p.BLU
895.92 MB
23.976 fps
105 min
P/S N/A / N/A
1.61 GB
23.976 fps
105 min
P/S N/A / N/A

Movie Reviews

Reviewed by benoit-3 10 / 10 / 10

A really good French film...

I just saw this tonight on TFO (Télévision française en Ontario) in a pristine black and white print and a very hopped-up fake stereo soundtrack that gives extra presence to the jazz music, the nightclub atmosphere, the dialog and the sound effects. Everything about this little police story is modern: the camera movements, the naturalism of the interpretation, the Paris slang, the art of the narration, the atmosphere of the criminal milieu, the non-judgemental attitudes. You really feel like you are there. The actors are all superb: Lila Kedrova, Jean Gabin, Dalio, Magali Noël... It's films like these that make you realize that the so-called Nouvelle Vague was really a step backward and a failure on every level (especially the intellectual) besides being a monumental bore. The real dream-weavers and the real avant-garde were the so-called traditionalists like Decoin.

Reviewed by writers_reign 9 / 10 / 10

Well Up To Chnouf

If your interest in French Cinema is peripheral you'll probably recognize the names of Jean Renoir, Jean Cocteau, Rene Clair and then begin to flounder, if you take a closer interest you'll also be aware of Abel Gance, Marcel Pagnol, Marcel Carne and, at a stretch, Jacques Feyder and Julien Duvivier but if you're a real buff you'll be right at home with names such as Pierre Chenal, Claude Autant-Lara, Christian Jacque and Henri Decoin. These men were the backbone of French Cinema in the first three decades of Sound film and any History of the subject that did not include at least a couple of titles from each name would be laughable. Decoin made Razzia sur le chnouf in between the eighth and ninth film he made with Danielle Darrieux and fittingly he made it with her male counterpart Jean Gabin - both began their careers in the early thirties and both became icons of French Cinema. After a brief hiatus following his self-imposed exile in Hollywood during the first years of the war Gabin had forfeited his status as Number One Male Box Office attraction and during the immediate post-war years his career faltered only to be revived spectacularly with Touchez pas au grisbi which allowed him to reinvent himself and move fluidly between gangster and cop in a series of policiers. Here he is reunited with Lino Ventura (who had made his acting debut in Touchez pas au grisbi) in a gritty (for the time) examination of the Parisian drug scene in the early fifties, complete with jazz score a la Bob, Le Flambeur. There's a nice touch that buffs will savor as Gabin drives past a sign noting the city limits of Le Havre; he had, of course, been there once before albeit as a passenger in a lorry in the classic Quai des Brumes. This is well up to chnouf (sorry about that) and highly enjoyable.

Reviewed by morrison-dylan-fan 9 / 10 / 10

"Be unmerciful to the middlemen."

Talking to a DVD seller about the splendid 1939 French Film Noir Le Jour se Leve,I found out that they had recently tracked down a French Noir with Le Jour star Jean Gabin,which led to me getting ready to once again step into Gabin's Film Noir world. The plot: Getting the US arm of their underworld empire back on track, Henri Ferré (nicknamed 'Le Nantais') is asked by fellow gangster Paul Liski to come back to France and help to uncover why the business is draining cash.Taking charge at a restaurant/cover house, (whose barmaid Lisette has a crush on Ferré) Ferré finds out that the dealers have been selling the drugs at a lower then "advised" price.Putting the dealers in their place, Ferré gets the price of the drugs increased.As Ferré tightens his grip on every part of the underworld business,the police start to pay attention,as Liski begins to fear that he is about to lose his empire. View on the film: Lurking in the rotten drug dens,co-writer/(along with Maurice Griffe & Auguste Le Breton)director Henri Decoin & cinematographer Pierre Montazel give the title a rustic,on the spot reporting,documentary earthiness,as black tar and bags of dope are passed across the screen from dealer to user.Casting the movie in an unrelenting fog, Decoin & Montazel make Ferré's return to France a walk into a Film Noir hellhole,by painting Ferré's business investigating in long,lingering shadows,which tighten up as Ferré goes deeper into the underworld.Allowing Ferré to get "hands on" in getting the business back on track, Decoin dips the murky Film Noir into superb stylisation,by lighting Ferré's punch-ups in elegant silhouette,which unveil the bruises that the cops and the gangs get from the grime covered underworld. Sending Ferré in as a master of the trade,the screenplay by Decoin/Griffe and Auguste Le Breton, (whose novel the film is based on) holds back from filling the bags with exposition,to fire raw,to the point dialogue across the screen,as slang from all sides is shot onto the screen,with the viewer being wonderfully placed to pick up on the slang and dealings on "da street" by themselves.Following every obstacle that Ferré has to break in order to get "the business" on track. The writers brilliantly balance Ferré's shots of ruthlessness with an abrasive moral code,which whips across the Film Noir shade with an excellent prospected-changing twist ending, which completely changes the perspective that Ferré's morals are seen from.Backed by a shimmering score from Marc Lanjean, Jean Gabin gives a fabulous performance as Ferré.Playing everything close to his chest, Gabin displays a dazzling precision in releasing an unflinching stern,no nonsense belief across Ferré's face,as Ferré sets his sights in getting the Film Noir business back on track.

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