125 rue Montmartre

The year 1959 in which Gilles Grangier's '125 rue Montmartre' was made was not an ordinary year in the history of French cinema. It was the year of the release of films like 'Les quatre cent coups' and 'Hiroshima mon amour', the first of a few consecutive years in which world cinema would be changed by a group of young directors and film theorists, followers of the concept of auteur cinema. Gilles Grangier was also in a period of maximum productivity. He had made the year before 'Le désordre et la nuit' and that year 'Archimède, le clochard', both with Jean Gabin in the leading roles. In '125 rue Montmartre' he casts Lino Ventura in the lead role. It is a thriller drama with a 'film noir' tone but also a moralizing story with dialogues written by Michel Audiard, adapting a novel by André Gillois. Grangier proves in this film that he masters and adopts many of the Nouvelle Vague techniques, but his directorial conception is completely opposite. He seems to be telling his young peers that movies are about and for viewers and are entertainment to take spectators out of the everyday, and not about the filmmakers or vehicles for engaging spectators with social or political messages.

The story takes place in 1959, in an era when printed newspapers were still the main means of information and the job of selling newspapers made it possible to earn a modest but decent living. Pascal is one such newspaper seller, every day he takes a stack of a hundred newspapers, rides his bicycle and sells them on the streets of Paris. After work, he smokes a cigarette on the banks of the Seine. On such a day he witnesses the suicide attempt of a man named Didier. He rescues him and takes him to his home. The man tells him about his wife trying to commit him to a mental asylum to get her hands on his fortune. Good soul, Pascal offers to help him, but this decision gets him into big trouble. The good deed will be punished with involvement in a burglary and being accused of a crime he did not commit.

Lino Ventura plays a role in this film that is a bit different from the kind of gangster or tough cop roles that audiences are used to in most of his other films. Pascal is a simple and gullible man who reacts violently when bad things happen to him, but who wouldn't react violently in his situation? The charm of this film also resides in the unexpectedly smooth melting of Pascal / Ventura in the surrounding human landscape, but also in the description of the human mosaic and life on the streets, in popular restaurants or at the distribution of newspapers, of a Paris of modest and working people. The contrast with the bourgeois house where dark intrigues and murders take place also has a social undertone, but this is implied and not emphasized. The Paris street and nocturnal scenes are no less interesting than those of the Nouvelle Vague contemporaries, and the sincerity of Ventura's performance is also fresh and natural. Even if Gilles Grangier belongs to a different directorial school, '125 rue Montmartre' is not that far from the revolutionary cinematographic works of 1959.

The chemistry between Lino Ventura and Robert Hirsch is great to watch. A great movie.

Gilles Grangier was never an auteur and a lot of his movies are really bad. But "Le désordre et la nuit" was good. "125 rue Montmartre" , more a Boileau-Narcejac ("Diabolique" ) detective story style than a true film noir, is quite entertaining and , given the stranglehold the Nouvelle Vague bestowed on French cinema, it's kinda breath of fresh air. Although by no means a New Wave movie, it shares with the younger filmmakers a shooting on location, in the streets of Paris, with its bistros, its newspaper sellers, even its impressive houses.

Just had the chance to watch this movie for the first time; before unknown to me. And I was fascinated! Great acting, a somewhat unusual Lino Ventura in great counter-acting with Robert Hirsch.

The plot captivating, and out of the ordinary.

The title makes little sense, neither in French nor in German. So, what one could well argue against this movie, is that it is unpolished. At times it looks like just improvised from a skeleton of story board.

A real climax is, when the presumed culprit goes to the circus and encounters exactly the person he is looking for. That's done extremely well, because the audience is steered towards recognizing the identity of the man who had disappeared.

The setting is well done, almost ancien régime, with a close to perfect film-noir-lighting.

Another of my favourite films to have been reissued on DVD by Réné Château, who, as usual, haven't had the good (commercial) sense to include subtitles on their DVD so that deaf French viewers and all other prospective foreign viewers can appreciate the film - incredible !

This story and the film are the embodiment of Paris of the late 1950's with all its charm - so different from the ugly Paris of today ! Lino Ventura, one of the great franco-Italian actors sadly no longer with us plays the part of Pascal a "crieur" or newspaper seller on the banks of the Seine who unfortunately gets involved in a sinister plot hatched by a woman and her lover who want to get rid of the woman's husband.

The story is very well done and the quality is equal to that of some of Alfred Hitchcock's earlier films. I love the theme music by Jean Yatove, which cannot be found any where on cd to my great dismay, and this music is typical of the late 1950's. So beyond the story itself ( which is more interesting first time round when you don't know the outcome ) the film has the interest for me as a living documentary of Paris of that era - we get to see quite a number of the different streets of Paris, the banks of the Seine, and how the "popular" or "working" parisian lives, as opposed to the touristy cabaret areas !

I would seriously recommend this film more than any other to someone wishing to "taste" the atmosphere of that era in Paris, an atmosphere long lost to the annals of time ! Another good film for this kind of thing would be "Voici le Temps des Assassins" starring Jean Gabin. One funny thing, the title 125 rue Montmartre has absolutely no relevance in the film at all, and would appear to have been thought up by its director on the spur of the moment for want of something better !