You have to love how copulation is expressed in Henri-Georges Clouzot's long-neglected "Quai des Orfevres" (1947).
A married couple, sparring and kissing in alternating currents, move in for a passionate clinch.
Cut away. A pot of milk boils over voluptuously.
Unless you've followed the career of Clouzot (1907-77) closely, you might not have heard of "Quai des Orfevres," which is named for the French equivalent of Scotland Yard.
He made it before "Wages of Fear" (1953) and "Diabolique" (1955), but after "Le Corbeau" (1943), which so annoyed both the native French and the occupying Nazis that he forfeited any chance to direct again until after the war and the soothing of French feathers.
He and co-screenwriter based "Quai des Orfevres" on S.A. Steeman's novel "Legitimate Defense." Clouzot directed it with little suspense but numerous undercurrents, including a hint of lesbianism and much stress derived from the pressures of the social order.
The star of the picture, Louis Jouvet, as shambling Detective Lt. Antoine, doesn't even turn up until 40 minutes in.
Clouzot concentrates instead on a build-up toward an off-camera murder.
The ambitious music hall chanteuse Jenny Lamour (Suzy Delair), whose real name is Marguerite, will all but prostitute herself to get a break. She thinks she can handle aging weasels such as Brignon (Charles Dullin).
Whether she can or not, and she cannot, her piano accompanist-husband Maurice (Bernard Blier) jealously stalks her.
Their photographer friend Dora (Simone Renant) seems to be interested in Maurice, but the attention looks like a cover for her greater attraction to Jenny.
One night, everyone of consequence turns up at a murder scene. Before the hapless Maurice can get away, his car is stolen by chop-shopper Paulo (Robert Dalban).
Clouzot shot "Quai des Orfevres" as a blend of German expressionism and American film noir, with mirrors reflecting and music hall performances subverting the contrast between backstage reality and onstage artifice.
The film is full of light and images filtering through lattice objects such as prison bars and grates, which suggest the way the characters see their lives.
Shadows ricochet off wet cobblestone streets. Carnal longings heighten with fear.
Alternately cruel and charitable, the detective, who has adopted a child from the French colonies, disarms everyone with his talk of self-sabotage -- an unwillingness to keep a check on his mouth.
The film is satisfying, but it's not visceral and preposterous in the way audiences require their mysteries today. It's more a warmed-by-hand brandy of a movie.
Additional Information:
Details
'Quai des Orfevres'Director: Henri-Georges Clouzot.
Stars: Louis Jouvet, Bernard Blier, Suzy Delair.
MPAA rating: Unrated, but PG-13 for adult situations.
Now playing: Regent Square.
