Carrefour (1938) User Reviews

The Anastasia syndrome.

[dbdumonteil · 6/10 · 3 September 2003]

Man(Vanel) comes back from WW1 and finds again his wife and kid ; he suffers from amnesia.As he is a wealthy notable,gossips surface.Is he really the man he claims to be?There's a trial but he wins his case thanks to a mysterious person (Berry) who turns to be a blackmailer.

Adapted from a Kafka novel (not THE Kafka),this is an interesting work :Vanel portrays with conviction this bewildered man,in search of his identity.Best scene shows an old lady,chasing him out of her flat,saying he's not her son,then,when the door is closed,bursting into tears.

Kurt Bernardt had begun his career in Germany,as contemporary of Lang and Murnau,but these works are almost impossible to see (he directed Dietrich).Then,after a stint in France,he headed for America where he directed minor movies ,most of them forgotten,including the remake of perennial French tear-jerker "le voile bleu" (as "the blue veil").

Most interesting is the influence of the movie on later works:

-In 1983,Daniel Vigne directed "Le retour de Martin Guerre".During the Middle Ages ,a man comes back to his home.but is he really the one he claims to be?Well you get the picture: a remake in disguise.

-in 1992,"Sommersby" was a remake of "Martin Guerre" (actually the re-remake of "Carrefour").WW1,Middle Ages or American Civil war,it's the same old song.

An absorbing mystery of identity

[runamokprods · 8/10 · 11 May 2014]

The precursor to films like "The Return of Martin Guerre", this is a well shot (with lots of film- noir like touches) metaphysical mystery/thriller about a man's search for the truth about who he really is.

Having lost his memory in the war, Roger de Vetheuil is living as a wealthy industrialist with a seeming perfect life. But a blackmailer claims Roger is really Jean Pelletier, a small time gangster, said to have died in the war. De Vetheuil finds himself compelled to dig ever deeper into his own blurred past -- only to find confusing and confounding evidence pointing both directions.

Charles Vanel is excellent in the lead, nicely underplaying in a more subtle style than many screen performances of the time – and unfortunately also more subtle then some of the performances around him. But while the film has it's melodramatic scenes, it ultimately is an absorbing, twisty and intelligent story, almost impossible to get ahead of.

Goodbye Kurt, hello Curtis.

[brogmiller · 8/10 · 27 June 2020]

After what was by all accounts a hair-raising escape from Hitler's Germany talented director Kurt Bernhardt worked for a while in Paris. His fourth and final film there was such a resounding success that he was offered a seven year contract in America. 'Carrefour' spawned two remakes. The one directed by Jack Conway is a typical homogenised Hollywood product with the obligatory happy ending. I have not seen 'Dead Mans Shoes' directed by Thomas Bentley but if his other films are anything to go by.........! In this French version Verteuil, who had returned from the war with amnesia, has become a wealthy industrialist and a pillar of society. His existence is threatened by the accusation of actually being a petty criminal and army deserter named Pelletier. His case goes to trial and he is exonerated by the evidence of a surprise witness Sarroux who establishes his identity beyond question. Verteuil still harbours doubts however about his real identity and things get even more complicated when Sarroux begins to blackmail him....... There is so much to appreciate in this marvellous film. Verteuil and Sarroux represent both sides of the coin and are played to perfection by Charles Vanel and Jules Berry. Both these phenomenal performers began their film careers in 1910-1911(!). Vanel was granted long life and was still acting until a year before his death at 95. Berry worked until his death at 65. They are ably supported by Tania Fedor and Jean Claudio as Verteuil's wife and son and by Suzy Prim as a femme fatale. There is also a touching cameo by Marcelle Geniat as the woman who might, or might not, be Verteuil's mother. Although strictly speaking a melodrama this has elements of Film Noir courtesy of L. H. Burel's stunning cinematography. His legendary career also spanned decades and his special talents were utilised by Abel Gance and Robert Bresson. The razor sharp editing is by prolific screen writer Adolf( here billed as Georges) Lantz whose only editorial assignment this was! Bernhardt apparently had the choice of either MGM or Warners. There are those who say he chose the wrong one! His Hollywood career was decidedly uneven but there were some good ones along the way. He has surpassed himself here and his mise-en-scene is remarkable whilst the influence of this piece on future Noirs is there for all to see.

this is the remake

[stevecs · 10 August 2004]

although this film was made before "the return of martin guerre", the latter is the closer adaptation to the incident that took place in 16th century France. Don't make the mistake of thinking that this is the truer of the two stories, because that is not the case. The story was turned into a very good short story by Janet Lewis, titled "the wife of Martin Guerre", which looks at the incident through the eyes of, you guessed it, Mrs Martin Guerre (Bertrande de Rols). There has been a more modern remake, which stars Richard Gere. Sommerby or something of the sort i think.