Gaston Modot Movies

In this mystery, a nouveau-riche Frenchman returns to his Parisian home after finding a fortune in Africa. He is looking for a wife and begins advertising in the newspaper. Instead he finds himself victimized by con-artists. ~ Sandra Brennan, Rovi

In the 1950s, French films were considered the ne plus ultra in naughtiness by certain impressionable filmgoers. It was to these movie fans that the American distributor of Jean Renoir's Elena et les Hommes (Elena and the Men) catered when it provocatively retitled the picture Paris Does Strange Things As further grist to the mill for American publicity hacks, the film starred Ingrid Bergman, who had recently returned to Hollywood after her career was nearly ruined by a marital scandal. Actually there was nothing overtly erotic about Paris Does Strange Things. The film was a sweet romantic comedy wherein Bergman plays a poverty-stricken Polish princess, who is wooed by eligible admirers Mel Ferrer and Jean Marais. Will she marry for love, or merely to restore her wealth? The suspense is bearable. Inexpertly cut to 86 minutes for its American showings, Paris Does Strange Things was restored to its full 98 minutes in 1986 and its title reverted to Elena et les Hommes. ~ Hal Erickson, Rovi

The title of this French crime meller translates into The Gun Moll. Eddie Constantine makes the first of several appearances as Lemmy Caution, the two-fisted American government agent created by novelist Peter Cheney. In this outing, Lemmy is dispatched to Casablanca, there to put the kibosh on a gold-hijacking operation. His job is made easier when he wins gun moll Carlotta (Dominique Wilms) over to his side. At 105 minutes, the action flags on occasion in La Mome vert de Gris. Still, the film was successful enough to spawn a whole series of "Lemmy Caution" adventures, including Jean-Luc Goddard's novelle vague fantasy Alphaville (1966). ~ Hal Erickson, Rovi

La Beaute du Diable came into being when French filmmaker Rene Clair became fascinated with a structural defect in the "Faust" legend. Clair felt that the beginning and end of the story was perfect, but the middle section, wherein the title character blasphemes the Pope, was "silly." The director also wondered what would happen if, instead of forcing Faust to sign his soul away in exchange for happiness and knowledge, the Devil were to ask for nothing, and simply assume that Faust would sign the contract at a later date. As played by Michel Simon, Clair's devil -- or Mephisto --is actually quite a likeable fellow. In fact, he's more fun to be around than the somewhat ethereal Faust of Gerard Philipe. In establishing the "reality" of his fantasy, Clair utilizes several adroit camera tricks to get the audience to swallow the tale. Nicole Besnard co-stars as Marguerite, the vessel of Faust's ultimate redemption. ~ Hal Erickson, Rovi

Jacques Becker's Rendez-vous de Juillet has been credited as the first postwar European film to accurately depict the Continental "youth culture." Teenaged Lucien (Daniel Gelin) aspires to become a filmmaker, and to that end organizes his friends into a film unit. The young cineastes hope to make a journey into Africa, there to film an uncompromisingly realistic documentary. Amusingly, Lucien and his friends are shown to be rather ill-equipped for "real life," shuttling as they do between theatre classes, jazz bars and coffee houses. Also, Lucien will have to overcome some family problems before he can embrace the responsibilities of adulthood. The winner of a critics' award at the Cannes Film Festival, Rendez-vous de Juillet was released in the U.S. as Appointment with Life. ~ Hal Erickson, Rovi

In this sentimental story, several hard working school children do a series of odd jobs to earn enough money to repair the window they accidentally broke. Unfortunately, just as they have enough cash, a meany steals the money. The plucky children rally together, get it back and see that justice is served. ~ Sandra Brennan, Rovi

Originally released in France under the title Le Silence est D'Or, Man About Town is set in the Paris of the early 1900s. Maurice Chevalier plays a director of silent films (whose working conditions are recreated with remarkable accuracy), while Marcelle Derien is an actress whom Chevalier hopes to turn into a film star. She falls in love with her younger leading man (Francois Perier), and Chevalier, after putting up a gentle struggle, bows to the inevitability of young romance. The first postwar US/France coproduction, Man About Town won several international prizes. Unfortunately, its American version was hampered by a misguided translation device: Rather than dub the actors' voices or utilize subtitles, the American distributor chose to have Maurice Chevalier narrate the film in English and comment upon its action. The resultant effect took the audience "out" of the picture when it should have been involved with the plot, and this clumsy translation technique was never used again. The best moment in the Americanized Man About Town was Chevalier's opening musical number, directed not by Le Silence Est D'Or's Rene Clair but by RKO film editor Robert Pirosh--who also trimmed the film by 17 minutes for U.S. audiences. ~ Hal Erickson, Rovi

Even in 1945, Marcel Carné's Children of Paradise was regarded as an old-fashioned film. Set in the Parisian theatrical world of the 1840s, Jacques Prévert's screenplay concerns four men in love with the mysterious Garance (Arletty). Each loves Garance in his own fashion, but only the intentions of sensitive mime-actor Deburau (Jean-Louis Barrault) are entirely honorable; as a result, it is he who suffers most, hurdling one obstacle after another in pursuit of an evidently unattainable goal. In the stylized fashion of 19th-century French drama, many grand passions are spent during the film's totally absorbing 195 minutes. The film was produced under overwhelmingly difficult circumstances during the Nazi occupation of France, and many of the participants/creators were members of the Maquis, so the movie's existence itself is somewhat miraculous. Children of Paradise has gone on to become one of the great romantic classics of international cinema. ~ Hal Erickson, Rovi

Now often cited as one of the greatest films ever made, Jean Renoir's La Règle du jeu/Rules of the Game was not warmly received on its original release in 1939: audiences at its opening engagements in Paris were openly hostile, responding to the film with shouts of derision, and distributors cut the movie from 113 minutes to a mere 80. It was banned as morally perilous during the German occupation and the original negative was destroyed during WWII. It wasn't until 1956 that Renoir was able to restore the film to its original length. In retrospect, this reaction seems both puzzling and understandable; at its heart, Rules of the Game is a very moral film about frequently amoral people. A comedy of manners whose wit only occasionally betrays its more serious intentions, it contrasts the romantic entanglements of rich and poor during a weekend at a country estate. André Jurieu (Roland Toutain), a French aviation hero, has fallen in love with Christine de la Chesnaye (Nora Gregor), who is married to wealthy aristocrat Marquis Robert de la Chesnaye (Marcel Dalio). Robert, however, has a mistress of his own, whom he invites to a weekend hunting party at his country home, along with André and his friend Octave (played by Jean Renoir himself). Meanwhile, the hired help have their own game of musical beds going on: a poacher is hired to work as a servant at the estate and immediately makes plans to seduce the gamekeeper's wife, while the gamekeeper recognizes him only as the man who's been trying to steal his rabbits. Among the upper classes, infidelity is not merely accepted but expected; codes are breached not by being unfaithful, but by lacking the courtesy to lie about it in public. The weekend ends in a tragedy that suggests that this way of life may soon be coming to an end. Renoir's witty, acidic screenplay makes none of the characters heroes or villains, and his graceful handling of his cast is well served by his visual style. He tells his story with long, uninterrupted takes using deep focus (cinematographer Jean Bachelet proves a worthy collaborator here), following the action with a subtle rhythm that never calls attention to itself. The sharply-cut hunting sequence makes clear that Renoir avoided more complex editing schemes by choice, believing that long takes created a more lifelike rhythm and reduced the manipulations of over-editing. Rules of the Game uses WWI as an allegory for WWII, and its representation of a vanishing way of life soon became all too true for Renoir himself, who, within a year of the film's release, was forced to leave Europe for the United States.. ~ Mark Deming, Rovi

Pepe le Moko (Jean Gabin) is a well-known criminal mastermind who eludes the French police by hiding in the Casbah section of Algiers. He knows he is safe in this labyrinthine netherworld, where he is surrounded by his fellow thieves and cutthroats. Police inspector Slimane (Lucas Gridoux), who has developed a grudging respect for Pepe, bides his time, waiting for Pepe to try to leave the Casbah. When Gaby Gould (Mirielle Balin), a Parisian tourist, falls in love with Pepe, the inspector hopes to use this relationship to his advantage. He tells Gaby that Pepe has been killed, knowing that the heartbroken girl will return to Paris -- and that Pepe will risk everything to go after her. The French Pepe le Moko was remade in the US as Algiers, which followed the original so slavishly (except for changing its ending) that the American producers were able to utilize generous amounts of stock footage from the French film. ~ Hal Erickson, Rovi

Frequently cited as both one of the greatest films about war and one of the greatest films ever made, Jean Renoir's La Grande Illusion is an often witty, sometimes poignant, frequently moving examination of the futility of war. During World War I, twoFrench airmen are shot down while taking surveillance photographs in German territory: Capt. de Boeldieu (Pierre Fresnay), a wealthy and aristocratic officer; Lt. Maréchal (Jean Gabin), a burly but intelligent working-class mechanic. The three are brought to a P.O.W. camp, where they encounter and befriend Rosenthal (Marcel Dalio), a prosperous Jewish banker, and the commander, Von Rauffenstein (Erich von Stroheim), takes an immediate liking to de Boeldieu.They are members of the same social class and believe that the political and intellectual ideals of the Europe they once knew will soon be a thing of the past with the rise to power of the proletariat. The three Frenchmen discover that their fellow prisoners have been digging an escape tunnel, and all of them agree to help -- Maréchal and Rosenthal with enthusiasm, de Boeldieu out of a sense of duty. As he puts it, when on a golf course, one plays golf, and while in a prison camp, one tries to escape -- it's the accepted thing to do. As Von Rauffenstein and de Boeldieu become friends, and the rank-and-file soldiers banter as much with the German guards as with each other, the characters seem involved less in a war than in some vast, petty game, albeit one with deadly consequences; they often talk about women and food, while never mentioning political ideology. ~ Mark Deming, Rovi