125 rue Montmartre (1959)
Directed by Gilles Grangier

Film Review

Lino Ventura, for many years the archetypal tough guy in French cinema, turns in another sterling performance in this carefully constructed mystery thriller based on a novel by André Gillois (the brother of the renowned filmmaker and producer Henri Diamant-Berger). In both its plotting and its design, 125 rue Montmartre looks as if it was strongly influenced by American film noir and Alfred Hitchcock's suspense thrillers. Indeed, the subject of a man wrongly charged with a crime he did not commit is distinctly Hitchcockian.

This is the kind of film that director Gilles Grangier was most adept at, although he had more success (and was better known for) his light comedies, including Le Gentleman d'Epsom (1962) and La Cuisine au beurre (1963). Versatile director though he was, Grangier was in his element with his noirish thrillers - as his earlier films Au p'tit zouave (1949) and Gas-Oil (1955) amply demonstrate. 125 rue Montmartre isn't just written and photographed with flair, it also has a distinguished cast which includes - in addition to the great Ventura - exemplary performers such as Andréa Parisy, Alfred Adam, Jean Desailly and the ever-glamorous Dora Doll.

Film Synopsis

Pascal makes a modest living selling newspapers on the streets of Paris. He may have a surly temperament but he is a good natured soul at heart, always ready to help a fellow creature if he can.  Naturally, when he sees a man jump into the River Seine, he does not hesitate to come to his rescue.  The visibly distressed man, Didier, reveals he was driven to this desperate act by his family, in particular his wife Catherine who is determined to rob him of his fortune.  Moved by this tale of woe, Pascal offers to help Didier in any way he can.  Didier suggests that they go back to his house to pick up some money.  As he enters the house, Pascal unwittingly falls into a carefully laid trap.  Alerted by Catherine, the police suddenly turn up and find the body of a dead man in the house.  The victim is identified as Catherine's husband, but to Pascal's surprise it is not Didier!  Catherine insists that Pascal murdered her husband, and all the evidence seems to be against him.  The only person who thinks otherwise is the police inspector leading the criminal investigation...