Film Review: Pépé le Moko (1937)

There are films that are good and that they look even better when you realise that they served inspiration for many different classic films in the future. One such example can be provided by Pépé le Moko, 1937 French crime drama directed by Julien Duvivier.

The plot is based on the eponymous 1931 novel by Henri de la Barthe (published under pen name “Detective Ashelbé”). Protagonist, played by Jean Gabin, is Pépé le Moko, French bank robber who, after the series of high profile heists in mainland France, escapes to Algiers (which was under French rule at the time) and finds shelter in Casbah. The ancient picturesque quarter, with its multi-ethnic multi-racial population that includes prostitutes, deserters, refugees and escaped criminals and made of labyrinthine narrow streets, is a “no go zone” for police, which Pépé uses not only to avoid arrest, but also to establish himself as a leader of local criminal gang. He even earned grudging respect of Inspector Slimane (played by Lucas Gridoux), native policeman who is allowed to visit Casbah and even befriends Pépé. Slimane, however, knows that Pépé has a fatal weakness which he would ultimately exploit to lure him out of Casbah to his doom. After two years he feels nostalgic towards France and that nostalgia becomes even stronger after he starts romance with Gaby Gould (played by Mireille Bain), glamorous Parisian tourist.

Pépé le Moko is often considered one of the most notable works of Poetic Realism, movement characteristic for 1930s French cinema. Due to its setting, fatalistic story and protagonist from the margins of the society it bears many similarities to La Bandera, previous film in which director Julien Duvivier collaborated with Jean Gabin. Comparisons between the two films would, however, clearly give advantage to the latter film, which is better polished. That includes much tighter and more comprehensive plot and Duvivier’s superb direction. Like in La Bandera, Duvivier has used some location shooting, including documentary footage of Casbah, but most of the film was made in Parisian studios, with designer Jacques Krauss painstakingly recreating ancient Algerian streets and creating atmosphere of carefree hedonistic bliss that goes hand in hand with feelings of doom and claustrophobia. Jean Gabin, who was at the zenith of his stardom, delivers another great performance, this time as larger-than-life criminal who is able to seduce women and inspire loyalty among men with his charisma, but who is deep down weak and sentimental. Lucas Gridoux delivers very good performance as police detective who is protagonist’s friend and adversary at the same time. The weakest part of Pépé le Moko is the romance between protagonist and beautiful Parisian woman, with Gabin not having proper chemistry with Mireille Bain, unlike with Line Noro who plays Inès, Pépé’s Casbah-based girlfriend.

Despite those flaws, Pépé le Moko became massive hit in French cinema and provided Gabin with one of the most iconic roles of his career. This caught attention of Hollywood producer Walter Wanger who a year later made Algiers, mostly faithful remake starring Charles Boyer and Marlene Dietrich. The film in 1945 inspired creation of Pepé Le Pew, popular character of Looney Tunes animated shorts, obviously inspired by Gabin’s and Boyer’s work. But Duvivier’s film proved to be much more influential for cinema in general in next decade. Its setting and elements of the script are very similar to legendary Casablanca. Black-and-white cinematography by Marc Fossard and Jules Frossard has served as inspiration for specific Hollywood brand of crime dramas that would later became known as Film Noir. British author Graham Greene, a great admirer of Pépé le Moko, later used it inspiration while writing his legendary screenplay for The Third Man.

RATING: 7/10 (+++)

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