Jean Lorette's father was ruined by Séverin-Mars. He has come to kill the man. Not recognizing him, he saves Séverin-Mars from assassin Camille Bert. And is invited as a guest to live in Séverin-Mars' palatial home. There he falls in love with the older man's ward, Suzy Lilé. His thirst for vengeance ends. But Bert is still lurking, working with the housemaid to kill the old man and take his wealth.
Julien Duvivier's first movie already shows sign of themes he would elaborate in the 1930s with his tools of poetic realism. Unfortunately, he is not up to it yet. His technique seems to be modeled on Feuillade, but he lacks the older director's willingness to be crazy and get on with it. Séverin-Mars has visions of those he has wronged, but when he does, he looks like a chipmunk, saddened by his inability to remember where he put those acorns.
It is, perhaps, unfair to mark down an artist's works because he would figure out later how to capture what he is seeking for, but there you have it. His only way to indicate what goes on in his characters' minds is to show it on the screen, and it requires words and the brilliance of Jean Gabin's performances. Fortunately, they would come Duvivier's way. But not yet.
Julien Duvivier's first movie already shows sign of themes he would elaborate in the 1930s with his tools of poetic realism. Unfortunately, he is not up to it yet. His technique seems to be modeled on Feuillade, but he lacks the older director's willingness to be crazy and get on with it. Séverin-Mars has visions of those he has wronged, but when he does, he looks like a chipmunk, saddened by his inability to remember where he put those acorns.
It is, perhaps, unfair to mark down an artist's works because he would figure out later how to capture what he is seeking for, but there you have it. His only way to indicate what goes on in his characters' minds is to show it on the screen, and it requires words and the brilliance of Jean Gabin's performances. Fortunately, they would come Duvivier's way. But not yet.