Review of Pépé le Moko

Grim, shocking, realistic, yet undeniably romantic, Pepe le Moko has justly been hailed as one of the ten best films produced in France in the 1930s. The leads, Gabin and Balin, contrive to be both realistic yet poetic, aided by skillful direction, atmospheric photography and a haunting music score. Anyone who views this film first and then watches the Hollywood remake will notice how slavishly director John Cromwell duplicates both Julien Duvivier's camera angles and frame arrangements. And why not? In most cases, Duvivier's inventiveness was impossible to equal, let alone surpass. And as for the performances, with one or two exceptions—Boyer is the equal of Gabin, but his interpretation is geared to his far more romantic (in both senses of that word) screen personality—the originals outclass their imitators. Hedy Lamarr, alas, does not stand up to the wonderfully exotic but earthy Mireille Balin. It seems at odds with her screen image, but I feel Hedy brings a guileless innocence to the role, which is certainly interesting (and she looks great) but is not what the part demands. Cromwell has coached her to actually play against the script rather than with it, no doubt partly to assuage the Hollywood censor. In addition to the stars of the French version, three portraits really stand out in the support cast: Charpin as the venal informer, Lucas Gridoux as the sly, ostensibly friendly inspector, and Frehél as the overweight but still optimistic has-been. I love her nostalgic little song (just one of a few really memorable moments which are completely missing from the Hollywood movie).