16 Noir City Sentinel WINTER 2010 HENRI-GEORGES CLOUZOT By Marc Svetov Special to the Sentinel enri-Georges Clouzot (1907-1977) is the ter-writer. The psychiatrist and distinguished citizen greatest European film noir director, fol- Dr. Vorzet (Pierre Larquey) holds the town’s inhabi- lowed only by Jean-Pierre Melville. In com- tants captive in a schoolroom for hours to make an Hparison to Melville’s highly stylized, ultra analysis of their handwriting. Ultimately, Dr. Germain cool crime films, Clouzot’s depiction of the human con- discovers who the true culprit is. The end of the film dition is far deeper in its expression. He reached down is reminiscent—a memory by Clouzot, perhaps—of into areas of the human soul usually sealed off, leaving The Cabinet of Dr. Caligari (1919) as the force viewers unsettled and unnerved. Though Clouzot’s oeu- behind the conspiracy turns out to be the main figure vre of noir masterpieces was small, comprising just four of authority. films he both scripted and directed, they belong to the From the outset, Nazi occupiers had encouraged canon of first-rank films noir. the French population to denounce “saboteurs”; these Clouzot was born in the provincial town of anonymous denunciations, once received by the Niort in 1907—a place that may have furnished him Germans, were handled by the domestic police or by with the requisite insight and basic observations for the Germans themselves. According to historians, reinventing small town life in Le Corbeau (1943). His over three million such letters were written by French father was a bookseller. Clouzot initially attempted to citizens to the Gestapo’s Wehrmacht commandant in enter the French naval service as a young man, but Paris, revealing the hiding-places of Jews or denounc- was rejected due to poor eyesight; he tried his hand at ing others: neighbors, colleagues, family members. the diplomatic corps, but failed there as well, having Among the examples preserved, it appears that fifty insufficient funds to finance his career and education. percent of the letter-writers were motivated by He had writing talent, was attracted to the world money—a reward was offered by the Germans and of theater, and met a few people through his girl- Vichy French authorities. Forty percent were written friend, a young actress who in the late 1920s worked for political reasons; ten percent out of hatred and in music halls and revues. She introduced Clouzot to culosis and spent four years in a sanatorium in vengeance. some entertainment producers in the French capital. Switzerland, reading, writing, musing, waiting; he “That balance between dark and light, black and Soon he was creating song revues for music hall per- had always been a devourer of books, literature as white, between good and evil, comes from deep in my formances, graduating to screenplays in the early well as crime fiction. Building on this huge store of heart,” Clouzot said. “The German authorities com- 1930s. He worked on various minor films and hooked knowledge, he learned what makes a story tick—and plained that it discouraged people from writing up with film producer Adolphe Osso, who employed what does not work—during these long years, with anonymous letters. … Informing was very useful. I him to write film scripts. He sent the fledgling the fear of death always lurking in the background. was promptly fired.” As though illustrating this prin- scriptwriter to Berlin, where he labored on French- Upon his recovery, he eagerly returned to Paris ciple, there is a key scene in Le Corbeau where Drs. German co-productions at Babelsberg, including a in 1938 and got back to work. Actor Pierre Fresnay Germain and Vorzet discuss the nature of good and French-language film by Anatole Litvak. took Clouzot under his wing and promoted the young evil, of light and darkness. A light bulb swings back Clouzot later explained that he made a point to man as a screenwriter. Fresnay would play the leading and forth above their heads, showing them either in view classic German films of that era, in particular role in Clouzot’s first work as a director, The deep shadow or an illuminating brightness. Vorzet ones by F.W. Murnau and Fritz Lang. German Murderer Lives at No. 21 (1942), a crime film remi- asks Germain if he knows where evil and darkness Expressionist films made a rich and lasting impres- niscent of The Thin Man. sion on him. There was a French film colony living and working in the city, including Jean Gabin, Arletty Coming of Age and many others. They lived in the same hotel on the Le Corbeau (1943) was a scandal when it was Kurfürstendamm. Accompanying French journalist released. The film dealt with a French provincial town Joseph Kessel through underground haunts in Berlin plagued with poison pen letters sent by an anonymous for a report on German criminal gangs, Clouzot got writer who calls him or herself Le Corbeau (the hit in the face with a broken bottle, leaving him with Raven). The script was based on an actual case in Tulle a permanent scar above his lip. twenty years earlier. The letter-writer knows the town’s He remained in Germany until 1934, witnessing secrets, and is especially vicious toward Dr. Germain the Nazis seizure of power, including long, torch-lit (Pierre Fresnay), accusing him of affairs and of being parades through the nocturnal streets. He claimed an abortionist. The film opens with a long shot of an later he was kicked out due to his friendships with iron gate to the town’s graveyard being slowly swung Jews in the film industry—namely French film pro- open: first, we see graves, then the town. ducers Pierre Lazareff and Osso. These poisonous missives are obscene in part, He returned to Paris and found a niche writing alleging corruption, adultery, medical malpractice, lyrics for cabaret shows and light operettas. He also going to outright lies, especially regarding Germain. established a working relationship with noted French Everybody suspects everybody else. The town’s dig- stage—and occasional film—actor Louis Jouvet. nitaries are powerless to do anything. A nurse is near- However, Clouzot came down with pulmonary tuber- ly lynched by a mob believing her to be the guilty let- Micheline Francey and Pierre Fresnay in Le Corbeau WINTER 2010 Noir City Sentinel 17 script department at Continental Films during those years. As Claude Vermorel wrote, “He was a guy who wanted to practice his profession, he was satisfied that the Germans furnished him with a chance. That’s legitimate, but it doesn’t go very far. Clouzot’s mis- take is this: not having considered that a German boss was a different boss than others.” Whereas many Jewish and/or anti-fascist directors and actors had fled France and worked in Hollywood—among them Jean Renoir, René Clair, Julien Duvivier, Jean Gabin, Michèle Morgan, Simone Simon, Marcel Dalio—the bigger part of the French film industry also collabo- rated, and there was even a flowering of French film- making during the German occupation. Le Corbeau was the most famous and notorious of the French films made during the occupation, and Clouzot was singled out to be persecuted by the liberation purging committee; although he was a scapegoat, he was cer- tainly no innocent. Post-war: Invoking a Noir World Quai des Orfèvres (1947), a police procedural, is situated in postwar Paris; its script, written by Clouzot and Jean Ferry, was based on a detective novel. Clouzot would take a literary template and transform it utterly, inventing characters, enlarging some aspects while eliminating others. His strength in script-writing is character delineation, capturing in a thumbnail sketch both the person and their place in society. Like many film noir heroines, Jenny Lamour (Suzy Delair), the film’s main character, is a night club singer and an object of desire for the people sur- rounding her. A single-minded young lady, she employs her considerable sex appeal to further her career. In one area she is adamant, though: she will sleep only with her husband, mild and meek Maurice (Bernard Blier), with whom she has a steamy, not at all matrimonial-like relationship. This is more than hinted at by the way he looks at her and by furtive, voyeuristic camera shots through the window of their cozy apartment. Dora (Simone Regnant), Jenny’s friend and photographer, who has a studio in the same courtyard, is also in love with her, but is unable to speak about her feelings. Clouzot portrays Dora as an independ- ent, dignified, sympathetic woman. Her unrequited yearning for Jenny is one of the few lesbian loves expressed openly—or at all—in film noir. When the hunchbacked sexual pervert Brinson (Charles Dullin), begin and end, where the boundaries lie? These are Germans accused Clouzot of undermining the useful a film producer who lusts after Jenny, is murdered, platitudes, yes, but thanks to the artful lighting, odd practice of letter-writing to the authorities. As with Dora and Maurice tell lies to protect Jenny, and Jenny angles and constantly movement between light and Céline, Clouzot, while being himself a collaborator, tells lies to protect herself. dark, it’s truly unforgettable. could please no one; that was likely due to the power Le Corbeau is a deeply disturbing film. The all- and potency of his art. He seemed capable of exasper- pervasive tone of dread, suspicion and paranoia trans- ating all and sundry, even undermining himself. forms the quaint little town into a purgatory in which There is no doubt Clouzot was an opportunist certainties and trust have evaporated.