Marie-Octobre

Resistance fighter Marie-Octobre (it's her former code name) gathers her mates after the war.There's a traitor among them and they've got to discover him and do away with him.The audience is induced to suspect one by one all the "guests",à la Agatha Christie.The film forgets the historical background very quick to focus on an efficient but rather artificial suspense.

The good cast (Danielle Darrieux,Serge reggiani,Bernard Blier,Paul Meurisse) makes up for the conventional side of this story.It' s a watchable work,but it's not representative of Julien Duvivier's greatness:he was in the last part of his brilliant career and time had begun to take its toll.But his touch is still here though.

Based on a novel by Jacques Robert, Julien Duvivier, Henri Jeanson and the author himself, wrote an original script for this film, which actually looks more like a play, as everything happens in the space of a few hours, and almost always in the same room.

The plot, despite focusing on the discovery of a traitor, among the group of old comrades in arms, of the resistance, almost seems like a long scene from Agatha Christie, in which Hercule Poirot unfolds hypothesis after hypothesis, until concluding with the discovery of the murderer.

The main attraction of the film is that it allows us to read between the lines of the police plot, to show a France that is both resistant and collaborative. They are all suspects because, despite being heroes of the resistance, they all collaborated, more or less, with the German invader and the Vichy government. And everyone accuses each other of these civic sins.

It is France settling accounts with history and clearing its guilty conscience of defeat and collaborationism, during the Nazi occupation.

In this sense, it is a provocative work, for its time. But subtly reading.

However, in general, it looks almost like a banal Cluedo game, despite a cast full of stars.

What struck me most about Julien Duvivier's MARIE-OCTOBRE, an Agatha Christie-style mystery about a former resistance leader (Danielle Darrieux) who gathers her old cohorts together to flush out the Judas who betrayed them, was how the plot was set in motion. Fifteen years after the war, Marie runs a fashion house and a German buyer, a former Wehrmacht officer, recognized her and let it slip in casual conversation that one of her own had turned them in back in the day -only he couldn't remember their name. Former enemies striking up an acquaintance many years later and reminiscing about the war "like old friends" doubtless happened to many a Yank and British vet on Continental vacations back in the '50s and '60s but in this instance that betrayal caused the death of Marie's lover. She never married, never forgot, and her insistence on a day of reckoning stood in stark contrast to the near-indifference most of the others exhibited (there was one suspect who kept sneaking away from the investigation to watch wrestling on TV). They all had gotten on with their lives and preferred to let the past stay buried, even a priest.

It's a good idea with an obvious flaw, unfortunately -the entire film takes place in a drawing room and is all talk, talk, talk. MARIE-OCTOBRE positively cries out for flashbacks and if it had only "opened up", it could have been impressive, indeed, and would most likely be much better known today. Still, the movie's got a great "name" cast and the tale itself is quite involving. Recommended.

This movie is casted with the best french actors of the time ; everyone of them made a sparkling career : Danièle Darrieux, Paul Meurisse, Lino Ventura, Bernard Blier, Paul Le Guers, Sege Reggiani, both in movies and theater. Many are second roles performers who illustrated themselves in mystery movies. The dialogues are witty; may be you have to know french to appreciate it to the most. The violence is in the heavy atmosphere unlike actual movies,although some scenes are physical.The plot is intelligent like an Agatha Christie and well organized by the Director. Jean Duvivier is one of the best of his generation. I would recommend it to any movie lovers.

The plot of Jacques Robert's novel 'Marie-Octobre' of 1948 and Michael McCarthy's film 'The Traitor' from 1957 are too alike to be coincidental but there the similarity ends for when Robert adapted his work for the screen he had the services of one of the greatest directors Julien Duvivier, the superlative dialogue writer Henri Jeanson and a cast comprising some of France's finest.

The subject matter could not fail to strike a chord with Gallic audiences, dealing as it does with treachery and collaborationism during the German occupation. It also works as mystery thriller as suspicion falls upon each of the protagonists in turn until the traitor is finally unmasked. The question then arises as to the method of punishment......

Filmed in three weeks on a single set designed by Georges Wakhévitch and observing the Aristotelian unities of time, place and action, this could easily be filmed theatre but becomes much more thanks to the masterly manner in which the director moves and groups his players and the clever camerawork of Robert Lefebvre. Apparently it was shot in sequence so that none of the actors knew the identity of the culprit and what actors they are! Each possessing an unique persona but delivering ensemble playing of the highest order.

The only negatives are the sudden bursts of music at certain dramatic moments and the truly laughable sub-titling.

The post-war films of Monsieur Duvivier are variable but he remains one of the Big Five of France's Golden Age. He departed this life in 1967 and this finely executed, technically polished piece is arguably his dernier hourra.