Paris After Dark

George Sanders plays a French doctor without a French accent. He plays Germans well and even speaks in a German accent, but he can't play a French doctor without sounding quintessentially English.

The young brother of the French protagonist, Jean, is quite bold and brave standing up for what he believes and speaking out against oppression. To be honest it;s the French characters that make this film work. Sanders merely lends his name to sell the film, but he contributes very little in terms of his performance.

I would advise Sanders fans to stay away from this film as it comes nowhere near the quality of 'Manhunt' or 'Tales of Manhattan'.

Set amidst the Nazi occupation of Paris, this film follows the perilous lives of those trying to balance their routine "public" lives with organising the resistance. Leading their efforts is "Dr. Marbel" (George Sanders) who manages to stay on decent enough terms with the brutish "Col. Pirosh" (Robert Lewis) by helping treat his soldiers. Not everyone knows of his more patriotic role, though, and he frequently earns the enmity of his compatriots. "Blanchard" (Philip Dorn), meantime, has just returned from a period of incarceration and is pretty shell-shocked, his spirit broken and his nerves on edge. He tries to encourage a policy of co-operation - to stay alive. This causes ructions with the hot-headed "Georges" (Raymond Roe) whose tragic murder galvanises the locals just as the Allies land in Algiers. It's a bit wordy this, but Léonide Moguy does create a sense of the constant state of fear in which the population lived at the hands of their malevolent new masters. It's not a particularly notable effort from Sanders, but Dorn and firebrand Roe contrast well as people have to make almost impossible choices to keep themselves, and their families, from a potential firing squad. It's not really got an ending, more a work in progress and though perfectly watchable, isn't really very memorable.

Yes, the film is a bit over the top. Yes, it is corny and sentimental in several instances. And yes, it does contain several stereotypes and cartoonish portrayal of Germans. However, despite all of these failings, the film is very successful for one reason; authenticity. The film is authentic because it was made smack in the middle of the German Occupation of France. The emotions portrayed by the French in this film are as genuine as one can get from a film.

George Sanders plays a lower-case Schindler in the film, and does a very good job, despite having to play a good guy (he is so much more effective at playing cads, neer-do-wells, and unfeeling characters). Brenda Marshall does an outstanding job as the lead actress, and Philip Dorn is very effective in his role of a lifetime as a returned POW.

The film does skip over one or two important elements of Vichy France, however. It plays up the resistance very well, but it does not really show how many of the French (Vichy Government) collaborated with the Germans. The single exception is an Italian barber, but Luigi is obviously not French (it is a sly slap at the Italians for being allied with the Germans). Luigi, to be sure, is a lowlife, but there were several thousand French lowlifes as well that supported the Vichy government. There are several good dramatic moments in the film, and one instance of selecting the lessor or two evils over the impulse to let a Nazi officer die. Compared to the dozens of other "French Resistance" films made since then, this one is easily in the top ten.

This is not a great war film, and today it is hopelessly outdated. The credits of the film is that the actors (almost all escaped from France during the occupation) act with absolute sincerity and conviction, giving the film a character of genuine honesty as an effort to communicate how life was in Paris for Parisians during the occupation. The documentary character is missing, however, being replaced by a rather uncouth sentimentality, as if it was contaminated by Hollywood, which it apparently was. It was made for the Americans to show them how hard life was in Europe for civilians under the German occupation, and the excellent acting by Philip Dorn, Brenda Marshall and George Sanders add to the credibility. So if you can forget the sentimental smear over it all, you will find it a most valuable and realistic account of life in the resistance. One warning: there are no human Germans here.

Director Léonide Moguy rings no bells in my memory and certainly will not after watching this middling propaganda piece relating to the French Resistance during German occupation.

George Sanders - great actor with a sound French pronunciation and accent to boot! - is the outstanding item in this rather pedestrian B picture. Sadly, he is not helped by a cast that strikes me as amateurish at best. Brenda Marshall, as female lead, disappoints as a French woman, unable even to pronounce the rife Christian name of Jean, saying John instead.

Cinematography by Lucien Andriot is run of the mill, possibly because of shoestring budget limitations. The screenplay by Harold Buchman is riddled with clichés but the final idea of one man saving 50 hostages by giving up his own medically condemned life is interesting... though I have the greatest doubts about the Gestapo sparing any French lives, even if the purported killed turned himself in. 6/10, mostly because of Sanders' classy contribution.