rating:
(out of
4 stars)France; 1937
Directed by Julien Duvivier; produced by Raymond Hakim, Robert Hakim; scenario by Julien Duvivier, Détective Ashelbé
Starring Jean Gabin, Gabriel Gabrio, Saturnin Fabre, Charpin, Lucas Gridoux, Gilbert-Gil, Dalio, Granval, Mireille Balin, Line Noro
Poetic realism results into a well known classic with 'Pépé le Moko', the story of a criminal hiding in the Casbah of Algiers. (Not Casablanca's as Variety's online review tells you.) Jean Gabin proves to be the star he really is, and cinematographers Jules Kruger and Marc Fossard find the right mood in their images. This precursor to film noir, starting in the United States in the early 1940s, shows the doomed criminal already imprisoned in the little spaces he rules. Symbolic images (fences, bars) underline this through the entire film.
To complete the film noir feeling, his romantic side will eventually get him into trouble, when Pépé (Jean Gabin) falls for Gaby (Mireille Balin), a tourist from his own Paris. Before this we see why the police, including Inspector Slimane (Lucas Gridoux), can not capture him while he is inside the Casbah. It would be easy when he would come out, and Gaby is just the tool to realize it. During the course of the film we learn to know Pépé, his way of living, surrounded by women (especially the jealous Inès, played by Line Noro), as well as friends and enemies.
The film works on multiple levels. As a story about a romantic man longing for home and finding it, in a way, in a woman he meets. As a story about a criminal and his brutality and uncompromising actions towards anyone who would endanger him. As a story about someone doomed from the start. It's all quite simple, but not in the presentation. It is entertainment, but a lot more in the feelings it brings to its audience.
As said, Gabin as a young charmer does a tremendous job bringing this romantic criminal to life. It is not an easy thing to make the viewer believe he would take the risks he does later on. Technically the film is brilliant, showing the Casbah (filmed in a studio) as a labyrinth that seems to have a life on its own. Director and crew, especially the already mentioned cinematographers, have made a terrific film, splendid to look at, from start to the inevitable finish.