After what was by all accounts a hair-raising escape from Hitler's Germany talented director Kurt Bernhardt worked for a while in Paris. His fourth and final film there was such a resounding success that he was offered a seven year contract in America.
'Carrefour' spawned two remakes. The one directed by Jack Conway is a typical homogenised Hollywood product with the obligatory happy ending. I have not seen 'Dead Mans Shoes' directed by Thomas Bentley but if his other films are anything to go by.........!
In this French version Verteuil, who had returned from the war with amnesia, has become a wealthy industrialist and a pillar of society. His existence is threatened by the accusation of actually being a petty criminal and army deserter named Pelletier. His case goes to trial and he is exonerated by the evidence of a surprise witness Sarroux who establishes his identity beyond question. Verteuil still harbours doubts however about his real identity and things get even more complicated when Sarroux begins to blackmail him.......
There is so much to appreciate in this marvellous film. Verteuil and Sarroux represent both sides of the coin and are played to perfection by Charles Vanel and Jules Berry. Both these phenomenal performers began their film careers in 1910-1911(!). Vanel was granted long life and was still acting until a year before his death at 95. Berry worked until his death at 65. They are ably supported by Tania Fedor and Jean Claudio as Verteuil's wife and son and by Suzy Prim as a femme fatale. There is also a touching cameo by Marcelle Geniat as the woman who might, or might not, be Verteuil's mother.
Although strictly speaking a melodrama this has elements of Film Noir courtesy of L. H. Burel's stunning cinematography. His legendary career also spanned decades and his special talents were utilised by Abel Gance and Robert Bresson. The razor sharp editing is by prolific screen writer Adolf( here billed as Georges) Lantz whose only editorial assignment this was!
Bernhardt apparently had the choice of either MGM or Warners. There are those who say he chose the wrong one! His Hollywood career was decidedly uneven but there were some good ones along the way. He has surpassed himself here and his mise-en-scene is remarkable whilst the influence of this piece on future Noirs is there for all to see.
