Le Bienfaiteur (1942)
Directed by Henri Decoin

Film Review

Immediately after their first collaboration, on Les Inconnus dans la maison (1942), director Henri Decoin and French leading actor Raimu joined forces and delivered another gripping mix of melodrama and character study, admittedly one that bears an unfortunate resemblance to a previous Raimu film, Jean Grémillon's L'Étrange Monsieur Victor (1937).  As in that earlier film, Raimu plays a Jekyll and Hyde character who is a model citizen in one sphere (a provincial backwater) and a master criminal in another (the Parisian underworld).  Only an actor of Raimu's calibre could convince us that two such disparate individuals are one in the same person, and in one of his finest screen performances he makes the transition from on to the other with frightening ease - to the extent that even when the masks slips and the nastier side of his persona is glimpsed Raimu retains our sympathies.

By this stage in his career, Decoin had well and truly mastered his art and was one of France's most technically accomplished filmmakers.  His style of 'quality cinema' was less staid and less formal than that of many of his contemporaries, and this gave it an edge of dangerous unpredicability.  This is most evident in Le Bienfaiteur, which begins as a tame provincial melodrama (vaguely reminiscent of earlier films by Marcel Pagnol) but suddenly, and quite unexpectedly, turns into something very different after the third reel.  Before we know it, Decoin catapults us into the seedy world of the French criminal underworld, skilfully appropriating the trappings of American film noir as he does so.  The supposed benefactor of the film's title (a too saintly to be true Raimu) is exposed as a career criminal and it is at this point that the film really begins.  The truth is that Raimu's Monsieur Moulinet is sick of crime and longs to live the honest life, but in true film noir fashion his attempts to bury his criminal past prove completely fruitless and his dreams are destined to go up in smoke (literally, at it turns out).

The extreme dual nature of Raimu's character is emphasised by the stylish, high contrast lighting - an obvious steal from American film noir, but one that is entirely justified.  Jules Kruger's cinematography lends the film a sombrely oppressive mood which subtly intensifies as the noose slowly tightens around Moulinet's neck, building to a climax that is intensely dramatic and suitably poignant.  This may be Raimu's film but it is worth noting the excellent contributions from supporting artistes Suzy Prim, Yves Deniaud, Louis Salou and Pierre Larquey, who all add to the film's spellbinding power and help to make this one of Henri Decoin's most involving films.  It is hard to explain why Le Bienfaiteur is so overlooked today as it exemplifies the best in Occupation-era French cinema.  The film deserves to be considered a high point for both its director and its lead actor, and it is a shame that, having made two remarkable films together, Decoin and Raimu had to go their separate ways and never worked together again.

Film Synopsis

Monsieur Moulinet has earned the respect and admiration of all the good people of Barfleur-sur-Oron.  Nicknamed “the benefactor”, he is renowned for his generosity.  One person who asks for his support is Irène Berger, the president of an association that cares for young orphan girls. Moulinet promises his help, moved both by Irène's cause and her charm.  On the pretext of visiting a dying uncle, Moulient goes to Paris where he lives his other life, that of Guillot, the leader of a gang that specialises in burglary.  After robbing a jewellers' shop, Moulinet decides that he will turn over a new leaf and lead a respectable life.  While Inspector Picard investigates the latest robbery, Moulinet makes a terrible mistake when he gives one of the stolen jewels to Irène...