Scandal in Paris

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Suave, sardonic George Sanders eases through one of his most perfectly suited roles in this sly Douglas Sirk comedy, based on the (highly questionable) remembrances of real-life French rascal turned respected lawman and author Vidoq. Sanders plays his aristocratic thief with a blasé attitude and bemused smile. Born in a jail (his home for most of his life, as it turns out), he cons his way up from the gutter to high society. He rechristens himself with a name purloined from a fancy graveyard headstone and lands a position as the Paris chief of police after an elaborate display of Sherlock Holmesian deduction uncovers a cache of jewels stolen from his patron's house (jewels he stole himself, of course). It puts him in the perfect place to plot his biggest caper ever: cleaning out the Bank of Paris. Akim Tamiroff plays his croaking sidekick (a frog to Sanders's prince of crime, or perhaps more accurately a dragon to the sneaky St. George), and Gene Lockhart is his nemesis, the disgraced former chief of police who emerges as less a figure of fun than a sad clown. Sirk shot this little gem on a low budget almost belied by the tiny but richly realized sets, beautifully designed settings that create a Paris in miniature. His Continental wit and Sanders's droll delivery and impeccable manners add a knowing wink to the production. --Sean Axmaker

Customer Reviews:

Amusing And Clever.......2005-06-04

"In crime as in love," says Francois Eugene Vidocq, "there are only those who do and those who don't dare."

This is the amusing, clever story of Vidocq (George Sanders), who was born in a Paris prison in 1775 and spent the next 30 years as a cad, a thief and a relatively successful criminal. And then he became Paris' chief of police and spent the rest of his life catching criminals. It's based on a true story. His epiphany came, according to the movie, through the love of a virtuous woman who was prepared to join him in crime if that was the only way to show her love for him. This so affected him that he decides not to rob the Bank of Paris, confesses all to his prospective father in law (the Minister of Police), who forgives him and blesses the marriage to his daughter. Vidocq, after all, was an even better detective than he was a thief.

The story takes Vidocq through his early years, his partnership with a rough crook, Emil (Akim Tamiroff), his encounter with a mercenary and beautiful dancer (Carole Landis) whom he woos, steals from and leaves (and who later marries Vidocq's predecessor as police chief, which causes serious complications), his encounter with the aristocratic family from whom he and Emil plan to steal priceless jewels, his meeting the family's young daughter, Theresa de Pierremont (Signe Hasso), and his set-up to become police chief so that he can rob the Bank of Paris.

The film features one of George Sanders best performances as a charming cad. Akim Tamiroff starts out as an ignorant buffoon with a knife, but gradually turns the role into one of real threat and danger. The movie is laced with clever dialogue by Vidocq and the gradual resentment by Emil. When Emil suggests murdering the rich old marquise for her jewels and is surprised when Vidocq demurs, Vidocq explains, "It's a not a question of morality but of manners. A man who is capable of killing with a knife is liable to eat with one." When Emil is chortling over the family's panic when the theft of the jewels is discovered and says he can't bear it, it's so funny, Vidocq tells him, "My dear Emil, we always have enough strength to bear the misfortunes of others." And toward the end of the movie when the young daughter asks Vidocq if he loves her or still loves the dancer, he tells her, "In her eyes I see myself as I am. In your eyes, I see myself as I could be."

This is a good, long forgotten movie which is getting a second chance because of DVD. The DVD transfer isn't bad at all, although a little variable.

Sanders is superb...but..........2005-01-23

The often-reliable Leonard Maltin says this is a "delightful romance" and that Sanders is "superb." Maltin must have confused this movie with something else. Sanders is snide and droll and superb, as usual, - you can imagine his delivery of the line regarding adultery, "Sometimes the chains of matrimony are so heavy they have to be carried by three," -but dull, wooden and dated describe this movie more accurately. The storyline itself, an autobiography with Sanders as a suave jewel thief, Francois Eugene Vidocq, who becomes chief of police but can hardly resist the lure of fine jewels, is entertaining enough, but it has the same kind of hollow historical Hollywood treatment that marred such period epics as *Marie Antoinette*, and certainly the deplorable *Forever Amber* (which screams for a classy remake). Though, in his defense, Sanders tries mightily to add some depth to his character, it is all for naught. I am an unabashed Douglas Sirk fan, but this is 1946, and it is one of Sirk's earliest American efforts, lacking many of the signature touches that would define his florid, breast-heaving potboilers. Sirk is just getting his feet wet here, and made a number of unmemorable films over the next ten years until he struck gold with *Magnificent Obsession*, and hit his stride, bombarding us with such estrogen-fests as *All That Heaven Allows*, *Written on the Wind*, and *Imitation of Life*. But *Scandal In Paris* is hardly his best work - a relatively low-budget affair with cheesy sets and ineffective costuming.

A real gem.......2004-04-08

This little known and seemingly underappreciated movie is actually a sophisticated piece of movie art. I had expected a journeyman effort from Douglas Sirk, but found instead a master working at the peak of his powers. The subject matter seems light on the surface, but probes questions of identity and personal responsibility. The slipperiness of the character of George Sanders' Vidoq is a foil to others' distorted views of themselves. Many of Sirk's tropes are present, including an abundance of mirrors, particularly in the harrowing climactic scene, and some fantastic use of shadow. The tavern dance scene by Carole Landis is worth the price of admission. To top it all off, the dialogue is worthy of Billy Wilder, and the photography is superb. George Sanders' performance is second only to Addison DeWitt, and Carole Landis is luminous.

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