User Reviews

That such an obscure movie may already have two reviews by non French users is downright surprising;Willy Rozier is completely forgotten in his native country,and he does not even have a small cult following.

Like in the stupefying "le Bagnard" ,its follow up,"56 Rue Pigalle" praises act keeping in with moral standards.

Beginning as a routine love triangle,with a cuckold so generous he almost becomes stupid ,the movie turns thriller before almost verging on supernatural.

"You got away with the human justice!you won't get away with mine" the cheated husband curses the lovers as they leave the court.

The lovers fly to Africa where they become seriously ill;is the husband's revenge from France?Is it a divine intervention? Something like voodoo? One thing for sure,Willy Rozier believes that man can redeem his soul: in "Le Bagnard",doctor Geronimo (sic) is sent to a penal colony (which we never see by the way)and must help his fellow men who suffer from yellow fever before being a true man again;in "56 Rue Pigalle",the two lovers are suffering and are almost dying;and maybe these sufferings will be their salvation.

Acting is unexciting ,including Marie Dea (this actress' best movies are "LES Visiteurs Du Soir" " Orphée" and the overlooked "Pièges" remade as "lured" )

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"Le Secret De Soeur Angèle" Leo Joannon "Le Révolté " Leon Mathot

Probably the only film to ever provoke a duel (between director Willy Rozier and critic Francois Chalais), 56 Rue Pigalle is an odd movie that attempts to fuse elements of film noir to the kind of romantic melodrama churned out by the Hollywood studio in the early 40s.

The plot provides a fair number of twists that, with hindsight, are all fairly predictable, and tends to outstay its welcome after a murder trial which includes that old chestnut - a surprise witness who holds the key to the entire case. Jacques Dumesnil makes a somewhat smarmy 'hero', while Marie Dea looks radiant and Aime Clariond outshines everyone as a wealthy cuckolded husband.

No great film, 56 rue Pigalle nevertheless probably doesn't deserve the obscurity into which it has fallen and is worth checking out if you get the chance. The UK DVD even includes footage of that duel between Rozier and Chalais...

Sportsman Jacques Dumesnil begins a friendship with Aimé Clariond and an affair with Clariond's wife, Marie Déa. Financial reverses come Dumesnil's way, and Clariond bails him out. His former valet, René Blancard, blackmails him over the affair, and is murdered by an associate. Dumesnil stands trial for his murder.

Willy Rozier was one of those directors who wished to be an auteur before the critics came up with the term, but seems to have lacked the ability. Each twist of the plot is resolved in a manner that suggests that Rozier got tired of it and simply ended it. The performers play it big. Dumensil, is a big man with black hair and a moustache, looking like Gilbert Roland, but he lacks Roland's swaggering charm. A two-bar theme by Jean Yatove plays occasionally and lushly on the stringed instruments to inform us of the great passions at play. I was not impressed.

I saw 56, rue Pigalle last night and really enjoyed it. It's a rattling good story about blackmail and deceit, with a strong Catholic sense of morality. The lighting and camera angles make it really atmospheric and I was surprised that the finale was set in Africa (presumably Belgian Congo). The song Pigalle features some advanced visual techniques, like a kind of early pop video, and I love French music of that period anyway. The female star Marie Dea also appeared in Jean Cocteau's 'Orphee' the same year, and she is very pretty, in my opinion. The DVD I bought also features a duel between Willy Rozier (director) and a film critic who had criticised Marie Dea's performance. I had no idea people were still fighting duels (not to the death) as late as 1950!