The Paris Express

Claude Rains is the reason to tune in along with Herbert Lom and good supporting staff. An amusing little off-beat little tale that starts out with conservative values and morphs into predator-prey dynamics startling when it does. It causes one to consider the traditional way of life i.e. hard work, steady long-term employment, owning a home raising two children and then repeating this over and over versus risking that life into an adventure and exploring another way to go about living. The catch? Be careful what you ask for. The whole movie is a good lesson in examining if you are content in what you do, if it is passion driven and if it is real. The main character is rather abruptly swept up into these dynamics and is intrigued while trying to figure things out on the way. Because he has not traveled in this fashion before, he doesn't know what he is doing but is content in not knowing. A simpleton comes to mind but with a struggle to keep his innocence against what would have him bet it to live or to give the illusion of living. We are introduced to large sums of money, a detective, a seductress and the lure of the carrot of life along with the favorite cliché "the grass is always greener somewhere else" which we know is not true but the main character does not. I found it interesting that the lust of the world was so well portrayed in more than one way. Watch how it has a push and pull to it but at some point loses its power if you can last that long. Fancy dining out, expensive wines, beautiful women, money to burn, having no rules, all wear-off leaving the "player" worse for it as the movie makes this point. Good snack movie or even a sandwich with a tasty drink while watching. Lots of human nature to discover in this movie. See if it applies to you and if you can relate. Enjoy

As comes across in so many of his Maigret stories, Georges Simenon always loved to depict how any group or locality was characterized by its own particular attitudes and social mores. In this tale of two cities, Simenon has matched unsophisticated dull respectable Protestant Groningen in the northern Netherlands against wicked exciting corrupting Paris. This contrast (though set out less clearly than in the novel) establishes the context for the movie.

Good-natured earnest Kees Popinga (Claude Rains) exemplifies Groningen. His boss Julius de Koster (Herbert Lom), seduced by Parisien temptress Michele (Marta Toren), bankrupts his firm and flees, only to meet his death. Fearing suspicion of murder and with a growing taste for adventure, Kees finds himself en route to Paris with de Koster's stolen money to seek out Michele. Sympathetic Paris cop Lucas (Marius Goring) pursues Kees wanting to save him from a further fall from grace.

This prelude sets the stage for all that is to follow. Must Kees fall victim to the treacherous Michele? to her dangerous lover Louis (Ferdy Maine)? or to the progressively corrupting influence of Paris? Or can the innate goodness of Kees redeem Michele? And can Lucas prevent a tragedy? The acting is of a high quality. We care about the outcome and our concern for Kees sustains our suspense. We are kept guessing to the last.

This is a rarity, an obscure colour film starring Claude Rains late in his career (he was 63), in a film noir. Rains plays a quiet and respectable Chief Clerk of a Dutch manufacturing firm which is owned by Herbert Lom and his aged father. Unknown to everyone, Lom has been obsessed for some time by a scheming and criminal Parisian tart, played tempestuously by Marta Toren. He has looted the company of all of its cash and left it a bankrupt shell, prior to running off to Paris to a new life with his beloved. This is discovered at the last minute by Rains, who has sunk his entire family's savings in the company, and hence lost them. Rains snaps and turns on Lom, pushing him into a canal in a rage, where Lom drowns. Rains takes Lom's suitcase containing all the company's remaining cash and runs off to Paris, which he has always wanted to visit. He has been a train-spotter all his life, and for years has been noting the passage of the Paris Express. Now at last he is on it. Marius Goring is a Dutch policeman who suspects Lom, and now trails Rains. When he arrives in Paris, Rains wants to find Marta Toren and he asks directions of a young prostitute in the street, played by the 20 year-old Anouk Aimée. She is listed in the front credits as Aimée Anouk, and in the end credits simply as 'Anouk'. So she was clearly having difficulty making up her mind her she was, or who she was to be, at that time. Like so many interesting mature actresses, she was very boring as a 20 year-old and makes little impression in her small role. (Another example of a fascinating mature actress being boring when young is Juliette Binoche, as I remarked in my review of RENDEZ-VOUS, 1985.) Eventually, Rains meets up with Toren, who at first laughs at him as a ridiculous old man and throws him out. But her attitude towards him changes when she realizes he has Lom's money. Things go from bad to worse, as Rains sinks deeper and deeper into delusion and intrigue. The film is not particularly convincing, and is only mildly interesting in itself, but the performance of Claude Rains is masterful, and truly makes something out of nothing, or should I say genuinely produces a silk purse out of a sow's ear. Admirers of Claude Rains will like watching this. But my goodness, Simenon has had a rough time of it, with films called THE MAN …, because his novel made as the film THE MAN FROM London (A LONDONI FERFI, 2007, see my review) is simply appalling, being 'the slowest film ever made'. Why do people buy the rights to Simenon novels and then not take proper trouble over filming them correctly?

I enjoyed this little, quiet movie enough to watch it twice in a row, despite the bad quality of the print I was watching. Claude Rains is heartbreaking as an obedient, flawlessly accurate little bookkeeper so devoted to his boss (Herbert Lom)that he is blind to the fact that he's an adulterer and a thief that has ransacked the companies funds, and is planning to declare bankruptcy and run away with his little floozy (Marta Toren). Of course, Lom is not too clever about what he's doing, and Inspector Lucas (Marius Goring) is already sniffing around long before Rains does anything or knows anything. The story is modestly interesting, although there are some bits and pieces that are a little hard to swallow. The real value of the film is in the characterizations. Rains is convincing as a man repressing his impulses and desires until everything he understands about life and his place in it comes apart, and he lets go of all control. I love the quiet conversations between Goring's detective and Rains trembling, stammering suspect, as they enjoy a game of chess. We believe the detective is genuinely concerned about the little bookkeeper, and knows that something important is breaking down in this essentially good man. Unfortunately, the telling climactic scenes were so dark that I almost had to guess what happened. This film needs to be restored. Somehow the director made it seem like the only people in Paris were Rains, Goring, and a handful of miscreants. Nice claustrophobic feel. Worth a look.

It was a surprise to see this title on the shelves at the local video store: although Claude Rains is one of my favourite actors, and this film features other fine actors such as Herbert Lom, Marius Goring and Felix Aylmer, the story line didn't seem to be the usual fare rewarded with a video release. And indeed it is the story that both fascinated me and left me flat at the end.

Rains' meek company clerk is nicely judged; cunning but not worldly-wise, and seduced by the lights of Paris, in contrast to his small home town. The contrast, though, is poorly made - Rains' clerk suit looks perfect throughout, even at Maxims - and we don't see a return to family or their reaction to his plight. Even so, the story's unfolding was interesting enough to keep me watching, (as well as for the technicolor exterior shots of Paris in the early 50's).