Panique

Michel Simon plays with a lot of subtelty a very recognizable type of human being.Very modern acting on his part. The supporting cast plays in this eccentric manner that characterizes French cinema of this era and they are very good.Totally enjoyable movie.Great direction by Duvivier.It deserves to be a classic.It deserves to be on DVD.

Although sound and picture quality are abysmal, as in a lot of French films from the 1940's, I do enjoy watching this film for its acting and also for the message it delivers. A murder has been committed in a sector of Paris and all eyes are drawn towards a solitary old gentleman, a slightly eccentric person living in the neighbourhood who had had some contact with the murdered girl (but who is not her murderer). The main object of the film is not "who dunnit" but rather that of painting a portrait of human nature as portrayed by local residents in their attitude of designating Mr Hire, as the man is named as being the obvious guilty party. One can not but have symapthy with the poor old gentleman who is sweet as a church mouse but who, it is true, does have some eccentric habits. Basically speaking, he who is different from the mass is vilipended by that mass at the first opportunity. Thankfully in the end, the real murderer is found, but meanwhile, Mr Hire's character has been blackened ! A remake of the film was made in the 1990's under the title "Monsieur Hire". The original Monsieur Hire was played in 1946 by the great Michel Simon ( an actor whom I adore ). The Monsieur Hire of the 1990's was played by Michel Blanc, more known for comic or semi-comic roles but who nevertheless delivers an excellent performance for this role !

This is a pretty monumental film, impressing with clarity of picture, busyness of street action and immediacy of plot development right from the start. Indeed this, beautifully photographed film engages from the beginning and roars along from scene to scene and image to image to inform in the most economical of ways before gradually slowing down as the story deteriorates into something quite terrible. Viviane Romance plays the leading lady, who is anything but, with great style but is this true love? Or is this sheer greed or even true hatred that leads to such panic. The sad, suspenseful ending reminded me of Frankenstein's monster, Quasimodo and even poor old King Kong but the true aim here by the writer Simenon in his original book is surely his own country folk and their disgraceful behaviour during WW2. Frighteningly effective cinema.

Julien Duvivier was a very capable director who left some fine films--Carnet de bal is one of my favourites, and La belle equipe is a pleasure--but I never thought of him as the equal of Renoir, Clair or Carne. Panique is a solid work that satisfies us; the performances rise to greatness with Simon and Bernard, and the mise-en-scene is very assured. The only cavil I have is with the crowd scenes: they are just not very interesting and do not increase our involvement with the story. Simenon's novel is a character study, not a work of sociology; we don't need to know what the crowd wants.

Michel Simon was a great actor and here he's at his peak. Dryly humorous, love-struck, violent and tough, it's a memorable performance. Viviane Romance was the great vamp of French pre- and post war film, and she gives a lot of vitality to Alice, the girl who gives herself completely to the worthless Alfred. Max Dalban as the bigoted butcher has some very effective scenes. Finally Paul Bernard is splendid as the thuggish Alfred. He made Madeleine Renaud's life miserable in Lumiere d'ete, he dumped Maria Casares in Les Dames du Bois de Boulogne (and was paid back royally for his stupidity): truly, Bernard was one of the great stars of the time.

Just as 'Voici les temps des assassins' is Julien Duvivier's best film of the fifties, this must surely be his finest of the forties. I would go so far as to say this is one of the greatest films made by any director in any decade. This adaptation by Charles Spaak of Georges Simenon's novel of 1933 differs slightly from the original novel in which Monsieur Hire is a petty crook of Jewish origin who is under police surveillance for the murder of a young prostitute. In this version he is a highly intelligent, bookish, unsociable loner. This of course makes him an obvious target for the petty, small-minded mediocrities who inhabit the town. Made so soon after the end of the German occupation this film is redolent of collaboration, denunciation and scapegoating. One of the most terrifying of lines is spoken by the loud mouthed, rabble-rousing butcher: 'If there is a black sheep in the flock you slaughter it'. Even by Michel Simon's standards his characterisation of the kind and tragically misunderstood Monsieur Hire is superlative and represents film acting at its very best. Viviane Romance and Paul Bernard excel as the utterly loathsome Alice and Alfred whose machinations cause his downfall. Technically the film is faultless with never a wasted shot and building to a thrilling climax. Mention must be made of Duvivier's preferred editor Marthe Poncin. Behind the camera is Nicholas Hayer who also shot that other masterpiece of mob misrule 'Le Corbeau'. Like Clouzot's film this is dark and deeply cynical and reflects Duvivier's own view 'that we are far from people who love each other'. If any film deserves full marks then it must surely be this.