Summary
Distinguished chef André Chatelin manages a gourmet restaurant beside the busy
Halles market in Paris. One day, he receives an unexpected visit from Catherine,
the daughter of his ex-wife Gabrielle. Hearing of her mother’s death, André
offers Catherine a room in his house. Catherine gratefully accepts and starts to
worm her way into André’s affections, to the chagrin of André’s adopted
son Gérard, who has himself fallen in love with Catherine. Neither André
nor Gérard realise that Catherine is only interested in marrying the restaurateur
so that she can inherit his personal fortune - and she will go to any lengths to achieve
this aim. Even murder...
Review
A satisfying blend of melodrama, film noir and suspense thriller, Voici le temps des
assassins is amongst Julien Duvivier’s best films. When he was a film critic,
François Truffaut cited the film as the director’s best work. It is
interesting to compare this film, and others of this period, with Duvivier’s earlier films
from the 1930s, most of which adhere to the principles of poetic realism. After
World War II, his films took on a far darker tone, often exploring the most sinister aspects
of human nature. Voici le temps des assassins exemplifies this change and
is certainly one of Duvivier’s darkest and most chilling films.
The impact of Voici le temps des assassins
is only really felt in its second half. The film begins as what appears to
be a conventional romantic drama, set in an impressive reconstruction of the famous Halles
market in Paris (including historic footage of the actual location which has since changed
beyond all recognition). But then, just when we think we know where the film
is heading, its mood changes abruptly and we know that we are in for some surprises.
The first shock is the revelation that Catherine is not what she seems. Far from
being an innocent young woman with the face of an angel she is a manipulative and devious
gold digger. As the film unfolds, we grow increasingly troubled by Catherine’s apparent
lack of scruples - yet somehow we remain convinced that she is not so bad as she seems,
that she will not kill to achieve her ambitions. By playing on our expectations,
Duviver delivers a cruel and meticulous thriller which culminates in a suspense-filled
and quite horrifying conclusion.
The striking photography (which is distinctly
noirish in places) is as impressive as the high calibre acting. Jean Gabin is well
served by Duvivier’s script and gives one of his most memorable performances - emotive
and forceful but also showing a great tenderness and humanity. The film’s
ace card has to be Danèle Delorme, whose performance as Catherine is simply sublime.
The character may be a twisted evil schemer, but Delorme manages to give the part a vulnerable,
tragic dimension, which not only makes Catherine’s morality ambiguous but also heightens
the film’s suspense and shock potential. The film also features Gérard
Blain in his first substantial film role. As Blain is now often associated with
the early films of the New Wave film directors (Truffaut, Godard and Chabrol), his appearance
in the film now seems to lend the film a curious touch of modernity.
In a decade when quality French cinema was
showing a tendency to become dull and formulaic, it is a pleasant surprise to come across
a film such as Voici le temps des assassins, a well-made film that had the audacity
to shock its audience.
© James Travers 2002
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