Reign of Terror (1949) User Reviews

Mann, Alton view French Revolutionary adventure through film noir's lenses

[bmacv · 7/10 · 31 October 2003]

Out of the chaos and carnage of the French Revolution, Anthony Mann fashions not a sweeping historical epic à la A Tale of Two Cities but a tight and shaded suspense story. His gifted collaborator is director of photography John Alton, whose preference for the murky suggestively limned with light was never so evident as in his work here, in country inns and the cellars of bakeshops and the cobbled pavements of torchlit Paris.

The plot centers on Robespierre (a peruked Richard Basehart), who has embarked on a spree of mock trials and executions of his rivals in preparation to having himself proclaimed dictator; he's just disposed of Danton. A less than adulatory element loyal to the ideals of the newly formed Republic, but not to its current leaders, aims to stop him. One of their operatives (Robert Cummings) infiltrates Robespierre's inner circle by posing as the `butcher of Strasbourg,' a regional tyrant as bloodthirsty as Robespierre himself.

But in the circle of men closest to the power of the state, trust is a commodity in short supply; they watch their own backs and scheme to stab each others'. It's Cummings' job to negotiate this maze of duplicity and locate Robespierre's `black book,' in which he records neither his amatory conquests nor vintages he's sampled but his next victims. Exposure of this book will mean Robespierre's downfall. With the aid of proto-Bondgirl Arlene Dahl, Cummings races the clock in a round of near-fatal wild goose chases.

Reign of Terror remains a costumed adventure – a chase movie – but Mann paces it swiftly and slyly. And, fresh from some ground-breaking work in film noir, he and Alton give it a compellingly sinister look. Most period pieces are lit as if on the equator at high noon; this has to be the inkiest costume movie ever filmed (even Charles McGraw, as a bearded soldier of the Republic, goes all but unrecognizable). The darkness doesn't limit itself to the lighting – the script, by Aeneas MacKenzie and Philip Yordan, rustles with ambiguous motives and queer twists. There's even an ironic note of premonition sounded at the end, when the slimy survivor Fouché (Arnold Moss), asks the name of a young soldier. `Bonaparte,' comes the answer. `Napoleon Bonaparte.'

A visual treat

[grnhair2001 · 7/10 · 20 October 2007]

This film, beautifully wrought (cinematographer John Alton must be responsible for much of this), makes me long to return to the days of black and white films and the stunning art that can be made in shades of gray.

From the first shot of a tiny distant rider silhouetted against massive lowering storm clouds, we are pulled into the mood of the film. The smallness of the rider is the smallness of the protagonist in the face of the overpowering events of the French Revolution. The use of light and shadow, the low shots and unusual closeups of actors: all of this made me feel I was in the hands of a master of his art. My breath was literally taken away by many of these images.

The story is serviceable and the acting quite good, but what sticks with me is the imagery of the film, the beauty of it.

Very cloak and dagger

[AAdaSC · 7/10 · 3 June 2013]

Robert Cummings (D'Aubigny) goes undercover to end the reign of terror that has gripped France after the revolution in the C18th. Richard Basehart (Robespierre) is about to pronounce himself dictator. Basically, he likes cutting people's heads off and he really likes it a lot. He has a black book with the names of everyone who he'd like to execute, and this book is the key to his downfall if it were to fall into the hands of the French people. Can Cummings and fellow Freedom Fighter Arlene Dahl (Madelon) prevent Basehart from realizing his dream?

An enjoyable film which moves along quickly so pay attention or you'll get confused, especially at the beginning. Then you can just roll with it and enjoy the tense scenes that turn up along the way. A good example is when Cummings is about to come face to face with his supposed wife, who will obviously betray him by not recognizing him. This is because Cummings has taken the identity of her husband and Basehart and his cronies are watching her reaction and are ready to arrest him at the slightest indication of non-familiarity. There is a bit of unnecessary violence at the film's end but I guess they wanted to show what was really happening. Someone certainly isn't going to talk anymore.

The cast are all good - especially Arnold Moss (Fouche) in a very creepy role. Can he be trusted by anyone? I like the film's ending where a soldier with his back to camera announces his name to Moss after a brief word about the future of France. What a shame that the quality of the film isn't that good.

Exciting & Very Interesting Period Drama

[Snow Leopard · 30 January 2006]

This exciting and very interesting period drama makes very good use of its setting in the French Revolution, blending history and fiction together in a believable fashion. The atmosphere is particularly effective, with the dark photography and claustrophobic settings helping to establish the rampant fear, uncertainty, and paranoia that characterized the era.

At one time, the French Revolution (and the subsequent Napoleonic era) captivated numerous novelists and film-makers alike, and they could comfortably assume that their readers and audiences were familiar with historical figures like Robespierre, Danton, Barras, and the others of the period. In more recent decades, all this seems to have been replaced in the public's imagination by Hitler, the Nazis, and the other figures and events of the Second World War, but in many respects the history of France in the late 18th century and early 19th century is even more fascinating and compelling. And beyond a doubt, its impact still affects the world.

The scenario here has Robert Cummings impersonating a notorious public prosecutor, in order to get close to the bloodthirsty Robespierre, as part of an underground's desperate plans to replace Robespierre's tyranny with the more moderate influence of Barras and his party. The story is well-written, combining action, intrigue, and some Hitchcock-like touches with Robespierre's "Black Book", on which the fate of so many lives depends. Only the lack of a first-rate cast keeps it from being one of the best movies of its time and genre.

The best performances come from Arnold Moss, who is excellent as the slippery, conscience- free Fouché, and Arlene Dahl, who is appealing as the ex-lover of Cummings's character, with whom he has to work closely. The rest of the performances are all at least solid, but often miss the extra depth that could have raised the movie another notch.

Nevertheless, it all works quite well, and it's well worth seeing for its story, atmosphere, and for the intriguing period setting. It represents fine craftsmanship from director Anthony Mann and his cast and crew.

France's First Revolutionary Dictator

[theowinthrop · 7/10 · 18 March 2006]

The question will never be really answered: What was the exact set of goals of Maximillien Robespierre, lawyer from Arras, France, who was (from July 1793 to June 1794) the central figure of public attention in France and the apparent dictator of the country? We won't know because he failed in the end - in possibly the most satisfactory fall from power of any dictator in modern history. His secrets died with him.

Robespierre has been painted as the great "green-eyed" monster of the Revolution. That was the phrase used by Thomas Carlyle in describing Robespierre in Carlyle's classic history of the revolution. A prissy, powder-wigged figure, who never found a kind word to say about anybody who was in power - and so undermined several rivals while he grew more powerful. He did give lip service to the Revolution's ideals, but apparently was more in love with the concept of mankind, than in individual men and women. He spoke about a cult of pure reason (an idea he gathered from the philosophes, especially Jean-Jacques Rousseau)and even held a festival for the cult shortly before he fell from power. Not really much to say about his program, except that his proscription made the Reign of Terror what it was.

But was he blown out of size? Some historians in the 20th Century feel that he was not all powerful. He was elected head of the Jacobin Club, and he was a member of the Committee of Public Safety - with eleven other men. The Committee was actually a committee set up with extraordinary powers by the National Assembly, and was supposed to run the war effort against Europe, and keep a lid on the problems on the home front. The historian R.R. Palmer (in "Twelve Who Ruled") makes a good case that Robespierre was not the only one with authority, but that all these men did valuable work. In particular, Louis Lazare Carnot, an amateur who turned out to be one of military history's most amazingly, unexpected geniuses. Carnot built the great French Revolutionary armies that were to be the weapon that Napoleon and his marshals used to conquer most of Europe.

But it was Robespierre (along with his two closest allies on the Committee: Robert Couthon and Antoine St. Just) who was the most fanatical in searching for hidden internal enemies. Their standards are the model for later similar "witch hunters", like Heinrich Himmler, Laventi Beria, and Senator Joseph McCarthy - you find a weak point, spread a lie, and then pound the lie into everyone until it becomes the truth. Robespierre did this with the Royal Family, the Girondists (moderates), General Lafayette (fortunately in an Austrian prison when denounced), General Dumouriez (who decided to surrender himself for safety sake to the Prussians), and then the radicals. He did not have to go after all his rivals. Jean Paul Marat would be stabbed by Charlotte Corday (the Girondists later said they wished she had consulted with them, they would have pointed out another target). But he did confront and destroy his right of center moderate rival Georges Danton, and later his far left rival Hebert.

There are, oddly enough, very few films dealing with this story. Robespierre does show up at the end of "Marie Antoinette", and is Chauvin's boss in "The Scarlet Pimpernel". The various versions of "A Tale Of Two Cities" do not need him (he's not in Dicken's novel). Only two films deal with him that I am aware of. A French film, "Danton", deals with his duel to the death with the great moderate and orator (played by Gerard Depardieu), and how Danton warns the country of the dangers of Robespierre's policies and personality but is unable to avoid being proscribed and executed.

Then there is this film. Directed by Anthony Mann, it paints a dismal view of the Paris of the months of May - June 1794, and how Robespierre finally is brought down. Played (very well) by Richard Basehart, his Achilles heel is a book of names of allies and enemies, and when he will destroy them to achieve total power. Robert Cummings and Arlene Dahl, with a cynical assist from Arnold Moss (as Joseph Fouche, Napoleon's future secret police chief) demolish Robespierre by getting the book into the right hands.

Did the book exist? We don't know. Stanley Loomis, in his interesting "Paris In The Terror" shows that it did not need to actually be in existence. Robespierre always had a proscription list in mind, and had he been smart he could have revealed it and reassured many who would not have stood in his way. But he was too arrogant and refused to do so. Fouche, who was an enemy of Robespierre, spread the word to almost every member of the National Assembly that they were on the hit list. Robespierre was shouted down when he tried to finally explain his plans, and was shot in the mouth just before he was arrested. On July 11, 1794 ("Thermidor" on the French Revolutionary Calender), he, Couthon, St. Just, and a dozen close associates were all guillotined. Although conservative, reactionary "White Terror" occurred in 1795, it was short and not as wholesale. Robespierre's Reign of Terror cost about 14,000 lives in France...and don't forget it was planned to continue for quite a while afterward. As Loomis writes in his study, the Terror died with him.

It must be quite a thrill, making out your death list every night.

[hitchcockthelegend · 7/10 · 27 May 2011]

The Black Book (AKA: Reign of Terror) is directed by Anthony Mann and written by Aeneas MacKenzie and Phillip Yordan. It stars Robert Cummings, Richard Basehart, Richard Hart, Arlene Dahl, Charles McGraw and Arnold Moss. Sol Kaplan scores the music and John Alton is the cinematographer.

Late 18th century France and the republic is in chaos as the French Revolution continues to rage. Scheming bad boy Maximillian Robespierre (Basehart) spies an opportunity for a dictatorship, within 48 hours he will seize control and rule France with a rod of iron. But there is hope in the form of a resistance freedom fighter named Charles D'Aubigny (Cummings), if only he can locate the secret Black Book belonging to Robespire then he can curtail the tyrant's plan.

Before he would make his name in Adult Westerns and Period Epics, Anthony Mann made a considerable mark on film noir. From the mid 1940's to the beginning of the 50's, he made a number of film noir movies that marked him out as a considerable talent. Of that cluster the most odd one is The Black Book, an historical period thriller done out in film noir clobber. Forget history and approach the film as a piece of entertainment only, a film rich in film noir visuals and no small amount of quality drama. It has problems, namely it has a fakeness about it that's hard to shake off, while Cummings is weak and Dahl serves only to be a plot point in the final reel. But Alton and Mann's stunning sense of mood and visual atmospherics save the day, while there's value to be had in the performances of Basehart (dastardly), McGraw (menacing) and Moss (slimey). 7/10

Footnote: Sadly the only DVD available for the film is an appalling transfer, both in picture and sound. It's advised to watch it during daylight hours and with the headphones on.

"Must be quite a thrill making out your death list every night."

[classicsoncall · 7/10 · 25 November 2012]

I didn't think I'd enjoy this film given the description on the DVD sleeve and it's setting during the time of the French Revolution, but it quickly got my attention with it's darkness and intrigue. Since my earliest memory of Robert Cummings is from the late Fifties TV series "The Bob Cummings Show" (I saw it as 'Love That Bob'), I can't help but think of him as the slick, sophisticated bachelor hitting on every model who shows up at his photography studio. So it was rather comical to me to see his reaction to the Lady Madelon (Arlene Dahl) impersonating the wife of the man Cummings is himself working undercover as.

The story of course is not a comedy, in fact it's full of espionage and intrigue about the historical Robespierre (Richard Basehart) and his attempt to become dictator of France while eliminating potential opposition named in his personal Black Book. I was intrigued by an early description of the man - a fanatic with powdered wig and twisted mind. Indeed, Robespierre spends a good portion of the picture marking adversaries for death with limited patience and a disdain for failure. He'd be a perfect subject for a modern day film treatment.

Others on this board describe the picture as noir in style, and even though I don't think I would have come up with that connection myself, it does seem to fit. The picture is dark and confining and presents a host of duplicitous characters with all manner of evil deeds on their mind. An added bonus is the effective use of period costumes, and superb direction under the watchful eye of director Anthony Mann.

Near Hitchcockian on a Smaller Budget

[joe-pearce-1 · 9/10 · 25 July 2016]

This is a unique film, nothing quite like it on the French Revolution having been seen before or since it was made. The director and cameraman manage to disguise the fact that it is quite a low-budget affair by means of near-fantastical camera work and angles. Even the near-final scene between the 'citizens' and Richard Basehart's maniacal Robespierre seems to be shot with him in close-up, but in front of a back screen of people screaming for his blood. Perhaps this was a way of not having to pay extras for several days of work until Basehart, or the director, or the cinematographer, could get the difficult scene totally under control. Whatever the case, it works beautifully. This is the only true 'costume' noir I can recall, but that French term was neither in existence nor even thought about when Anthony Mann was making this film. Mann went on to a huge career in both spectacles and major Westerns, but directorially he did nothing much better than this. (Any man who can effectively direct the diverse talents of James Stewart, Alec Guinness, Charlton Heston, Sophia Loren and Mario Lanza has much to recommend him!) I saw this when it came out in 1949 and didn't even know what "reign' was, going home to Mom and telling her I'd just seen 'the raygen of terror'. She looked perplexed, so maybe the later title of THE BLACK BOOK was a better choice; it certainly sounds more noirish. Some ill-advised comments have been made here about the two leads, but Robert Cummings, although he excelled in light and sometimes silly comedy, had a solid grounding in excellent dramatic work - between 1942 and 1954 he was also the star of KING'S ROW (yes, he had the starring male role, not Ronald Reagan), Hitchcock's SABOTEUR, then FLESH AND FANTASY, THE LOST MOMENT and SLEEP, MY LOVE, and also as co-star of Hitchcock's DIAL M FOR MURDER, not to mention taking a lovely turn as an angel in a movingly bittersweet and still little-known comedy-drama Western called HEAVEN ONLY KNOWS, where he comes to Earth to escort a little boy's soul back to Heaven, but finds him still alive; the rest of the film's lightness of heart is burdened by the fact that while we get close to the little boy, both we and the angel know he must die; Cummings makes it all work in what can only be termed a near-angelic performance! (Mann also used, more than once, the somewhat similar Dennis O'Keefe, an excellent dramatic lead who was also a phenomenally good farceur - even better than Cummings - when given the opportunity.) Low budget or not, they had to borrow Arlene Dahl from M-G-M for this one, and I'd strongly suggest that anyone who thinks Ms. Dahl could provide only beauty to a good acting cast has obviously never seen her as the two-timing and grasping lead of NO QUESTIONS ASKED or as Rhonda Fleming's psychopathic bad sister in SLIGHTLY SCARLET. A load of top-flight character actors - Arnold Moss, Norman Lloyd, Charles McGraw and Beulah Bondi - take turns at almost stealing the film, but the leads hold onto their characters and do full justice to their best reputations, most especially Basehart (an actor who, despite a near-profound acting versatility, never seemed to quite find his niche in movies, which probably says more about us than it does about him). Anyway, it really deserves a 10 rating, but I must restrict myself to a 9 due to that damned budget, which encourages imagination on the parts of all concerned but still leaves you wishing a more Hitchcockian funding could have been found for the film. But Hitchcock had, earlier on, excelled at making masterpieces on starvation budgets and Mann follows nobly in his footsteps, for this remains a delightfully suspenseful and engrossing outing from beginning to end.

Who's In The Book?

[bkoganbing · 6/10 · 7 September 2009]

The first question I have to ask is why would Maximilien Robespierre, who generally was a pretty smart guy until he overreached, keep a written record of the people he's earmarking for denunciation and death. That's the sort of thing you'd think he'd have just in his head. But he's got it, people know he has it and unfortunately for Richard Basehart the wrong people know he has it.

Which brings me to the plot of the story of Reign Of Terror. The famous Marquis De Lafayette who was in exile at that point has sent an agent in the person of Robert Cummings to find the book and expose Robespierre's plans to eliminate possible opponents. The beautiful Arlene Dahl is working for another member of the National Assembly with similar aims and they join forces.

If Reign Of Terror had been done at a major studio like MGM or Paramount we might have seen a full blown color production. As it was this film was done at the short lived Eagle-Lion Studios and it was mostly filmed in shadows to disguise the cheapness of the sets. In doing that it gives Reign Of Terror a noir like quality that is the second most effective thing in the film. The atmosphere is one like a Universal Gothic horror film.

But the best thing about the film is the way Richard Basehart captures the character of the cold, bloodless, and merciless Robespierre. Robespierre was a man who disdained the pleasures of the flesh and the world had recently been dealing with another fanatic named Hitler who was the same way.

If you discount the silliness of Robespierre actually keeping a written list somewhere, Reign Of Terror despite its cheap production values, does effectively capture the mood of France in the middle 1790s. And Basehart is brilliant in his role.

Madness in the Reign of Terror

[SimonJack · 8/10 · 15 March 2014]

"The Black Book" or "Reign of Terror" is a fictitious story that takes place during the infamous 1793-94 French Revolution period known as The Reign of Terror. Historians may yet be divided on the virtuous or vile nature of Robespierre (apparently, he was known for both). But this film leaves no doubt about his consenting to, if not instigation of many murders of innocent people.

Richard Basehart's Robespierre shows the cleverness and oratory for which his character was known. And he plays the would-be dictator of France to the point of madness in some scenes. Note his "logical" reasoning to support killing of many innocent people. That portrayal leads one to think that perhaps the man was driven partially by a paranoia that was fueled by the uncontrollable and uncivilized conditions which he himself helped create.

Robert Cummings plays the hero of this film very well. Cummings was most known after the mid 20th century for his comedy and romance roles in film and on TV. But he had many dramatic roles early in his career, and was very adept at acting in all types of roles and all film genres. The other characters are well played as well. Arlene Dahl as Madelon, Arnold Moss as Fouché, Norman Lloyd as Tallien, and Jess Barker as Saint Just.

The dialog is particularly sharp and crispy for Robespierre's character. In an early scene, he has condemned an innocent man to the guillotine without even a trail. The man's wife pleads with Robespierre who is unyielding. She says, "Stop playing God." He replies: "God? The revolution abolished God. There's only the will of the people. And the people have spoken." Toward the end, Saint Just says, "The mob's gone mad. They'll tear us to pieces." Robespierre replies, "I made the mob. The mob are my children. They won't turn against their father."

Then he shows the power the real Robespierre must have had to mesmerize the people. "The greatest death a man can die is for his own people. But you would then be without a leader. If I go, who takes my place? Let the man step forward who can follow in the steps of Robespierre. I have led you through the darkness. If I sought the power of dictatorship, it was not for personal glory. Your will is my will. I bear no man ill. I have killed only for you."

In real life, Robespierre said, on February 5, 1974, that "Terror is nothing else than justice, prompt, severe, inflexible." (See: "Pageant of Europe," Ed. by Raymond P. Steams, 1947) In this movie, a man shoots Robespierre in the mouth; but in real life, he attempted suicide. He shot himself but the bullet just shattered his jaw. The next day he was guillotined without a trial, in the same fashion that he himself had sent so many to their death.

A few films have been made about Napoleon, the War of 1812, and other European battles of the late 18th and early 19th centuries. But not many films have been made that look critically at the French Revolution and the turmoil that completely changed a national culture – not all for the best. Perhaps that's why – the ugly actions and drastic measures that were anything but vestiges of freedom and human rights. So, while this film is fiction, the events it covers are very real. And, it doesn't shy away from showing the horrors of the time. For that reason, "The Black Book" has some historical value as a film. History buffs and those who like intrigue and action should enjoy this film.

Also known as The Black Book, it's an action drama featuring Robert Cummings

[jacobs-greenwood · 6/10 · 16 October 2016]

Directed by Anthony Mann, with a screenplay by Aeneas MacKenzie and Philip Yordan, this noirish fictionalized historical drama focuses on the time period just after the French Revolution dubbed the 'reign of terror, when silver-tongued Maximilian Robespierre (played by Richard Basehart) used the people's confusion and nearly became France's new dictator.

Robert Cummings plays Charles D'Aubigny, who impersonates a foreign executioner named Duval that was summoned to do some necessary dirty work by Robespierre. D'Aubigny must navigate the cloak and dagger environment to help François Barras (Richard Hart) and the people avoid the travesty of Robespierre's plans. Arlene Dahl plays Madelon, a Barras ally who knew D'Aubigny previously (and romantically), which is (at times) both an asset and a liability for the country's 'savior'.

Arnold Moss play Fouché, the untrustworthy head of Robespierre's secret police, who has his own agenda and desire for a power grab. Norman Lloyd plays Tallien, Madelon's protector; Charles McGraw plays Sergeant. Jess Barker plays Saint Just, who faithfully carries out Robespierre's wishes and rightfully suspects that D'Aubigny isn't who he says he is. Beulah Bondi plays Grandma Blanchard, the matriarch at the farm where D'Aubigny and Madelon temporarily receive refuge while hiding from St. Just; a very young Russ Tamblyn appears uncredited as one of the Blanchard children.

The film begins with Robespierre having his previously trusted friend Danton (Wade Crosby, uncredited) sentenced and convicted as an enemy of the people, to give one a sense of how crazy the post- revolution environment has become (and the power of Maximilien as accuser). Shortly thereafter, Duval (Charles Gordon, uncredited) is killed by a mysterious man that turns out to be D'Aubigny, who'd received a ring from the exiled General, the Marquis de Lafayette (Wilton Graff, uncredited) to prove his true loyalty to the people, and Barras.

Near the end of the film, a brief reference is made to France's future when Fouché speaks to a soldier claiming to be Napoleon Bonaparte.

One of the Best Films Ever Made!

[JohnHowardReid · 10/10 · 22 October 2014]

Despite some banal dialogue and one's initial difficulty in reconciling the wide variety of accents used by the cast, this is a film that will delight all classes of picturegoers. Few will quibble at the great liberties the script takes with history as the plot is a stirring and exciting one with hairbreadth escapes and an enormous amount of action and fast movement that will have all audiences sitting on the edges of their seats with excitement. Not only are the situations absorbing, but the characters are interesting and the players give performances that are both extremely competent and surprisingly ingratiating. Robert Cummings gives one of his most pleasing portrayals. Although he was usually cast as a likable stumblebum in light romantic comedies, Cummings actually excelled in dramatic costume parts (as this film and "The Lost Moment" so amply demonstrate) which rarely was he given the opportunity to play. Arlene Dahl is delightfully picturesque as the heroine and it is pleasing to note she doesn't hog the camera (a great deal of the time she is on screen you can hardly see her). She has not been introduced into the script as an afterthought of box office necessity, but has a role that is vital to the whole proceedings to play — and she plays it well! Basehart gives a riveting performance as Robespierre whom he portrays as a towering incarnation of monstrous brutality and evil, abetted by his henchmen, Saint Just (played with force and subtlety by Jess Barker) and the crafty, sly, satanic, self-confessed self-seeker Fouche (Arnold Moss in one of his most memorably malevolent portrayals). Norman Lloyd has a small part (on the right side for once) which he acts out in his usual slippery fashion. Despite his prominence in the billing, Richard Hart has only a small role as Barras. Other parts are very competently enacted and it is a nice surprise to find some of our favorite cameo players in unaccustomed costume roles — Victor Kilian as the turnkey, George Lloyd a member of the Convention, Beulah Bondi as Grand-ma. Charles McGraw figures prominently in the final climax.

It was a violent era and there is a great deal of violence on the screen. The film could be frightening for children — doubly so because it is filmed throughout most atmospherically in very low key. Many scenes have very little light, the gloom and eerie shadows adding to the suspense. Mann's superlative choice of camera angles (Robespierre seems a towering figure because he is often viewed from a low angle — even in close-up) drives every emotive point home. Costumes and sets are dazzling and make an important contribution also to characterization (Robespierre in gleaming white, Moss in black, Cummings in gray) and even the plot (Cummings' adroit business with the wig). The whole film is handled with an inventiveness and a brilliance that is all the more enthralling for being so unexpected. It is absolutely jammed with the sort of shots that lesser directors congratulate themselves on using once or twice in their otherwise steadfastly banal and mercilessly dull picturizations. The use of mirrors, one of the key devices in Mann's earlier films, appears here in several ingenious and highly effective contexts. Mann can control crowd scenes with as great a dexterity as the most subtle and insinuating of dialogue exchanges and exhibits throughout his customary skillful use of natural locations. The whole film is crowded with shots (a knife from an unseen assailant at Cummings' throat as he steps inside a windmill; Robespierre placing a grotesque mask in front of his face reflected in a mirror as his wig is powdered and brushed; Fouche and Robespierre face to face in the torture chamber; the Prosecutor of Strasbourg preening himself in a mirror as a hand reaches from behind to clutch at his throat; the visitor lifting her veil in the candle-light) and scenes (Lloyd parrying banter with Cummings at a café while sitting in front of him idly eating olives; Robespierre raising his hands in a dramatic gesture to arrest the mob as they storm into his chambers; the eerie opening with faces like ghosts wrathing in the mists; the attempted escape from prison with the aged turnkey fumbling with the keys) that stay long in the memory.

The script has some wonderful ideas — Robespierre's office in a bakery; Fouche asking Cummings if his name is in the book and his sudden and unexpected and unexplained attack — and it respects the intelligence of the audience by not explaining everything away or talking down or putting little patriotic speeches about the dangers of dictatorship into the mouths of its heroes. Certainly, it is implied, but, commendably, any parallels with present-day dictatorships are not overtly stated.

Credits are first-class. Producer William Cameron Menzies has doubtless influenced the enormous, brooding sets with their atmospheric trappings and appointments, as well as Alton's impressive low-key photography (particularly shots like that of the silhouetted riders outlined on the rim of a twilighted hill). Editing is both sharp and smooth, the music score apt and deft. Production values are first-class.

Hitchcockian suspense!

[caik59 · 7/10 · 12 March 2023]

Perhaps I underanticipated the level of craft and ingenuity that might be reached by a film I'd not heard of, thus explaining how bowled over I was by its sheer effectiveness! The acting, the nimbly tortuous script, the bold and uncommon cinematography, and, not least of all, the virtuosic depictions of imminent peril add up to one gem of a film that was ultimately blessed by the economy with which it was forced to be made. Anthony Mann deserved every good thing that came to him as a result of this breakthrough effort, and I'll be on the lookout for many of the principle actors whenever I hunt up old films to watch. This is a real winner!

Not bad, but there have been many better films about the same subject matter

[planktonrules · 5/10 · 11 October 2007]

The film is about a little black book that is in Citizen Robespierre's possession. This leader during the so-called "Reign of Terror" was a cold fish who consigned many--including his good friend, Danton, to the guillotine all in the name of patriotism. It seems in this movie that the Citizen actually has a master plan to wipe out everyone around him--it's hidden in this book and it is important to find the book and reveal to everyone the evil hit list. It's up to secret agent Bob Cummings to find it and convince everyone of the danger the nation faces.

There have been some exceptional films about the French Reign of Terror (in the 1790s), such as THE SCARLET PIMPERNEL, A TALE OF TWO CITIES and DANTON. Because these films were so good, it made it much tougher to watch and enjoy REIGN OF TERROR. Sure, it was a good film, but compared to these great films it pales in comparison. Much of it is because there really isn't much in the way of character development and the actors could have just as likely been in a movie set in an entirely different time period. Overall, it's pretty much just a time-passer and an actor I usually love in films (Richard Basehart) is pretty bland as is the lead, Bob Cummings.

Unusual and Stunning Anthony Mann Film

[NoirFan62 · 23 August 2004]

I watched REIGN OF TERROR, aka, THE BLACK BOOK last night and I just loved it! It's one of the most unusual films I have come across and an equally strange hybrid of genres or sub-genres. The great Anthony Mann takes a film that would probably play mostly as a colorful, sweeping, epic piece dealing with the French revolution and turns it, with the help of cinematographer John Alton, into a dark, shadowy and claustrophobic film noir/adventure/spy/suspense tale period piece featuring excellent performances from a cast that includes Robert Cummings, Richard Basehart and Arlene Dahl. The plot is pretty simple actually, Cummings plays an operative of the newly formed republic who infiltrates the inner circle of dictator wannabe Basehart. You see, Basehart thinks Cummings is a regional tyrant as bad as he is called the "butcher of Strasbourg" and he wants Cummings to find his black book which contains the names of friend and foe alike who will eventually be lead to execution once Basehart becomes dictator. However, if the book falls into the hands of his enemies, Basehart is dead meat. Cummings is assisted in his quest by the lovely Dahl. Even though the plot may be thin, the suspense and action are on high as danger and one confrontation after another awaits around every dark, gloomy and shadowy Parisian corner. The look of the film is outstanding. Atmospheric, gritty and dark with shadows everywhere in the great noir tradition. Mann's camera is everywhere as we receive his trademark high angle shots, low angle moments and jarring and disjointed facial close-ups. A truly unique and highly entertaining film with a look and feel that just has to be experienced. I loved it and would recommend it highly to anyone with even the slightest interest in the work of the wonderful Anthony Mann.

There's a Revolution going on!

[brogmiller · 7/10 · 10 February 2022]

In keeping with his previous outings Anthony Mann has opted for the 'Noir' treatment and shot this in the style of an espionage thriller. The MacGuffin here is the 'Black Book' in which would-be dictator Robespierre has listed those for the chop.

The French Revolution must surely represent one of the peaks of human insanity and the claustrophobic interiors together with the extreme close ups, odd camera angles and atmospheric lighting by John Alton(he of the 'it's not what you light, it's what you don't light' philosophy) have captured brilliantly the darkness and danger of the world these characters inhabit and the sheer anarchy of the times. "No one goes to bed in Paris, it isn't safe" someone observes and audiences in the late 1940's could hardly fail to recognise similarities with the all-too recent and indeed existing dictatorships.

As for the cast we have the terrifying stillness of Richard Basehart as Maximilian("don't call me Max!") Robespierre and Arnold Moss as a wonderfully reptilian Fouché. The good guys are played by Robert Cummings whose look of innocence is belied by his sly, knowing smile and by Norman Lloyd. These two actors had previously been seen grappling on the Statue of Liberty in Hitchcock's 'Saboteur'. Scrumptious Arlene Dahl, on loan from MGM provides the eye candy.

The whole enterprise is of course Hollywood historical hokum and needless to say the North American accents are incongruous but these weaknesses are overcome to a degree by Mann's taut direction and excellent staging.

Historically it is a grim reminder than when something awful is overthrown it is invariably replaced by something infinitely worse.

Intriguing and thrilling movie involving powerful figures in the French revolution : Robespierre , Saint Just , Fouche , Tallien , Barras and Napoleon too .

[ma-cortes · 7/10 · 13 July 2020]

Set in the 1794 , the second year of the French republic formed after the execution of Louis XVI , this film portrays the power struggle between the revolutionary leader Robespierre (a commanding and cold performance by Richard Basehart) along with Saint Just (Jess Baker) versus other leaders as François Barras (Richard Hart) , Fouche (Arnold Moss) and Danton who are opposed to "The Reign Of Terror" and attempt to persuade Robespierre to curb the bloodletting . All of them participated in overthrowing of king Louis XVI and the proclamation of the Republic ; however , nowadays , they are ferocious enemies which has resulted in the gallows of thousands of citizens, who are thought to be opposed to a bloody Revolution and mainly executed by guillotine . At the beginning the moderate revolutionary Danton (Wade Crosby) has returned to Paris from his country seat where he has been since being deposed as leader of the Committee of Public Safety in the previous year by Robespierre . But Robespierre and the Committee are afraid that the popularity of Danton will lead to them being overthrown , and put Danton and his supporters on trial for being traitors and finally guillotined . Along the way Robespierrre is desperately looking for his black book , a death list of those marked for the guillotine . Robespierre was a powerful figure in the French Revolution and the subsequent Reign of Terror , and this Book results to be a fundamental key to eliminate him , and eventually avoid to emerge as the country's dictator . Robespierre hopes his agents will recover it , but , if it falls in to the enemy hands : Charles D'Aubigny (Robert Cumming) , it would mean his political ruin and death . Some revolutionary people : Fouche , Tallien , Barras opposed to Robespierre attempt to take the valuable book .

The picture especially narrates the happenings surrounding the robbing of the Robespierre's book and his facing off other main figures , one-time revolution partners , and their posterior fall and execution . Historic film with also fictitious plot concerning the struggles among two greatest figures of French revolution , as notorious leaders are opposed to "The Reign Of Terror" which has resulted in the executions of thousands of citizens by guillotine , as during French revolution Robespierre is confronting other leaders to create a ruthless dictatorship for himself . The film is partially based on real deeds and apperance of famous revolutionary roles , they are the following ones : Danton (1759-1794) as lawyer , being Minister of Justice in the Convention (1792) and founder of Cordeliers club who proposed creation revolutionary committees as the Public Salvation Committee which he presided but was substituted by Robespierre , starting a period of revolutionary dictatorship known as ¨the Terror¨(1793) , along with the Jacobin Saint Just , the scheming Fouché , Barras and final brief intervention by Napoleon Bonaparte . Historically accurate film regarding the Reign of Terror what the film does is to concentrate on the behind-the-scenes meetings of the Committees and the scenes in the National Assembly as well as a twisted and supenseful intrigue about a missing Book , which Robespierre is stubbornly looking for , the reason for containing a death list of those marked by him for the guillotine . As action , thriller and suspense is maintained along the inside shops, noisy inns , a countryside house and other activities on the streets of Paris . Main and support cast cast are frankly good as starring : Robert Cummins , the gorgeous Arlene Dahl . While Richard Basehart is truly outstanding as the icily determined Robespierre and Arnold Moos steals the show as the suspicious Fouché , as well a Richard Hart who brings the full-bodied Barras to life , also in secondary roles turn up awesome actors as the incombustible Norman Lloyd as Tallien , Jess Barker as Saint Just , Charles McGraw as a Sergeant, Beulah Bondi and the uncredited child Russ Tamblyn , among others .

It packs atmospheric cinematography in black of white and in Noir style with plenty of lights and shades by John Alton who along with Nicolas Musuruka and John Seitz were the essential Noir Film's cameramen . As well as stirring and moving musical score by Sol Kaplan . This Eagle-Lion Films/Walter Wanger/William Cameron Menzies production was competently directed by Anthony Mann . This great filmmaker Mann was an expert on all kinds of genres as Thriller/Film Noir such as : Desperate , T Men , Raw Deal , Border incident ; Wartime as Strategic Air command , Men in war , Heroes of Telemark ; Historical and biographical : Reign of terror , El Cid , The fall of the Roman empire , The Glenn Miller story ; and outstanding in Western genre as Devil's doorway with Robert Taylor , The tin star with Henry Fonda , Man of the West with Gary Cooper , The Furies with Barbara Stanwick , Cimarron with Glenn Ford and The tall target .Being his last one : A Dandy in aspic , played and co-directed by Laurence Harvey . Rating : 7/10 . Better than average . Well worth watching . The picture will appeal to historial film aficionados .

Not nearly enough horse drawn carriage chases

[aerospook · 7/10 · 14 November 2006]

The Black Book/Reign of Terror has the style of a gangster movie fused with the screenplay of a classic spy story, which is set in an anarchical post-revolution France. But somehow it works as a better than average action-thriller.

The story is a rather standard cloak-and-dagger tale about a true "French patriot" trying to bring down an evil, authoritarian- wannabe regime from the inside by using his wits and dodging the occasional volley of musket fire. Naturally, he's mixed up with a former love-interest-turned-resistance-facilitator, which of course complicates the real mission at hand: restoring the honor and glory of France. Despite the been-there-done-that story, the screenplay is fast-paced enough and has its share of twists and turns to keep the viewer engaged and entertained throughout.

The real reason you should make an attempt to dig this one up, is for the film making. The style is reminiscent of something made in the 60's (vs. 1949)with its tight close-ups, shot construction (especially for dialogue), and the attention to lighting to highlight the mood. It's an excellent study of how to do more with less. It actually looks more like a modern movie vs. a filmed play, which seemed to be the prevailing style at the time.

All and all with its adequate story and its unique visual style, the Black Book is worth a viewing...if you can find it. Ah yes, and the carriage chase will make you appreciate how difficult it must have been in the old days to have a high-speed shoot out with flint lock pistols while trying to steer your horses around the narrow Parisian streets and alleys...comparably makes those cops and gangsters with their flashy sedans and tommy guns look like wimps.

Director Anthony Mann at His Best

[JLRMovieReviews · 10/10 · 28 May 2013]

Robert Cummings, Richard Basehart, Arlene Dahl, and Norman Lloyd star in this excellent little tense thriller set during the French Revolution. I went into this knowing nothing, and really the viewer doesn't need to know anything. If you love fast-paced espionage films, this is the one to see. With great production values supervised by director Anthony Mann, this has to be one of the best movies made in 1949, even though it's been forgotten in the years since. Robert Cummings is looking for a certain book, obviously, to bring down Richard Basehart, who's in power and control over the people. And, Arlene Dahl has never looked lovelier. One of the film's best attributes is in creating the mood and moment as it heightens the tension, while the law is looking for Bob and Arlene at an old farmhouse and the quiet scenes are very memorable and tense. From there on, the film is on another plane entirely and is better than one would expect from such a little film. If you've never seen this, you're missing one of the best films to come from director Anthony Mann.

the French Revolution eating its own

[myriamlenys · 7/10 · 24 November 2019]

"The Black Book" is probably best described as a historical mystery or espionage movie, which contains a mix of swashbuckling, romance and intrigue. Interestingly, it draws upon some of the symbolism and imagery seen in noir movies. (Note the persistent use of mirrors, which can represent both duplicity and veracity.)

The least one can say is that "The Black Book" takes a dim view of the founding fathers of the French Revolution - or at least those founding fathers still alive in the era in which the story is set. When not persecuting hapless citizens, various ideologues and various heads of espionage and police services are busy sliming, blackmailing or killing each other, in a ruthless struggle for power. Whether this picture is entirely accurate or not is a question I gladly leave to the professional historians among us. However, there's quite a lot that feels truthful, especially when one considers parallels with certain forms of 20th century chaos or tyranny. The various courts and coups surrounding a Hitler or a Stalin spring to mind...

Anyway, "The Black Book" successfully evokes the kind of political environment where pretty much everybody is out to get everybody else, either out of ideological conviction or else for profit and fun. As a result the plot is dipped into a rich, black irony. People are looking for a specific "black book" containing explosive information but it is a given that there must be ten, twenty, thirty similar books going around : this milieu counts enough grudges, quarrels and gossip to inspire a whole library.

I liked the movie, both for its general atmosphere and for its John Dickson Carr feel. I also liked the performances. Arnold Moss is particularly good as a clever, knowing, malevolent Fouché. One rather gets why the real-life Fouché went on to become the patron saint of cynical turncoats everywhere...

Top Flight Mann/Alton Collaboration !

[gordonl56 · 9/10 · 3 September 2014]

THE BLACK BOOK – 1949

I finally got around to this one, and I was rather surprised just how much I enjoyed it. Even though I'm a fan of the director, and director of photography, the French Revolution just never grabbed me as a possible venue for a noir, so I avoided this one for years. Boy was I wrong to do that.

Loved the look of the whole production, I'd swear that John Alton lit the entire film with the refection of a lit cigar off a quarter.

Robert Cummings and Richard Basehart headline with great support from, Arnold Moss, Beulah Bondi, Charles McGraw, Arlene Dahl and Richard Hart. Look close and you can see long time bit players, John Doucette, Dabbs Greer, Dan Seymour and Royal Dano.

The story is about a group of patriots out to stop the evil Robespierre, played by Richard Basehart. The man has been on a spree of trials and executions of everyone opposed to his rule. He wants to be named dictator of all of France. This of course does not sit well with many.

It seems that Robespierre has a book with all his enemies, real or perceived in it. If the Patriots can obtain said book, they can expose Robespierre as the murdering swine that he is. Robert Cumming plays the main agent of this underground group.

Produced by budget minded Eagle-Lion studios, this one sure gives full value. Well worth a watch, though some of the prints out there are not that great. I caught this one off TCM. Director Anthony Mann strikes again!

French revolution and his immortal legacy!!!

[elo-equipamentos · 7/10 · 20 October 2019]

I used to talk to my friends that the movies taught me more than my regular studies on schools which I had attended, even having high grades on every school subjects, like this picture over the French revolution, where political matters that took place in those bloody days, the Black Book was the critical issue to settle all things, Cummings played Charles D'Albigny, however has to interpret a fake powerful Judge Duval, he needs joint forces with the leader François Barras (Richard Hart) and his former and gorgeous girlfriend Madelon (Arlene Dahl) to find the book and unmask the upcoming Dictator Maximilian Robespierre played by Richard Basehart, an offering to us learning more over the unforgettable revolution at most important nation at those period of time and trying understanding all about concerning those tempestuous time when nearly 40.000 people were killed, a high price to pay to has "Liberté, Égalité, Fraternité", therefore this bloody experience spreading around the world as true reference as democracy as used today in countless advanced countries!!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 7.5

The French Revolution as a Film Noir

[vitaleralphlouis · 9/10 · 9 October 2007]

I first saw this excellent gem of a movie in 1949 at age 11; again tonight at age 69. What a difference in movies from then to now. In 1949 eleven year old boys were regularly challenged by movies aimed at the adult audience and we would grow by the experience. This film was my first glimpse at the French Revolution. These days adults age 69 and age 29 are challenged to see a steady diet of essentially stupid movies aimed at 11 year old's and have to drag our intellects down to that level. Nobody in 2007 is going to make a movie of this quality.

Independent producer Walter Wanger and director Anthony Mann did a first rate job of creating an era which is usually offered up in elaborate productions and presenting it in a gritty, dark scenario. The story is strong, the sets realistic (since 1949 I've been to France maybe 30 times), the dark cinematography brilliant.

Searching on Netflix for the 2007 film "Black Book" the search also brought up "Reign of Terror" under the alternate title of "Black Book." I said to myself, that's a good one. It says a lot about a movie when you remember it 58 years later.

I saw this (and 2000 other fine movies) at the Silver (my neighborhood theater) now perhaps more famous as the AFI Silver, home base for the American Film Institute. The former Silver used to play maybe 3 or 4 good movies a week, but under AFI's air-headed management they now play mostly oddball junk. It was the AFI that demoted GONE WITH THE WIND from Best Picture of All Time to not-even-100th-best.

Reign of Terror is readily available in DVD. Recommended.

Reign of Terror

[CinemaSerf · 7/10 · 4 January 2023]

It's quite interesting that, aside from the "Scarlet Pimpernel", there are relatively few films that deal with the French revolution and this is certainly one of the better ones. Robespierre (Richard Basehart) is suitably menacing as the First Citizen of the new Republic bent on becoming Dictator. When his opponents discover the existence of, and manage to steal, his secret black book - in which are named the people he intends to have visit Madame Guillotine, he and St. Just (Jess Barker) must recover it at any cost. Robert Cummings is good, if a little too Louis Hayward-esque, as the dashing "D'Aubigny" who, ably aided by Arlene Dahl ("Madelon") - is determined to use the book ensure the downfall of his power-mad foe and secure democracy for his country. Arnold Moss stands out, too, as the duplicitous "Fouché" and Anthony Mann and John Alton work well together with Philip Jordan's story to create a tense, eerily lit drama that creates more than enough menace - especially towards the end - to keep this entertaining throughout with a fair degree of authentic looking sets from Culver City.

Okay Old Time Chase Spy Film Set in the French Revolution

[jayraskin1 · 5/10 · 6 August 2010]

There are no good movies about the French Revolution. Griffith's "Ophans of the Storm" is probably the best. Still, it is a caricature of history, more interested in melodrama and montage than history. Marat/Sade is incredible, but it is about madness, sex and violence more than the Revolution. "Danton" and "Tale of Two Cities" are morality tales.

This movie takes the typical Dickensonian/British propaganda elements about the revolution -- bloodthirsty mob, power-hungry dictator and bourgeois heroes trying to stop the terrible reign of terror. There is no mention naturally of the tens of thousands of peasants slaughtered by Catholic militias or foreign invading armies of the aristocrats.

There are some interesting camera angles that enhance the melodramatic elements, but this is typical of chase=spy movies of the time. With Cameron Mendez producing I thought the sets would be exciting, but only near the end when Danton addresses the assembly do we get something beyond the mundane.

Robert Cummings, who is great in Hitchcock's "Dial M for Murder" and "Saboteur," has nothing to work with here. There is too much nastiness going on, and his attempts at light humor don't work. This is one of Richard Basehart's first movies and he is good in the last fifteen minutes of the film, but before that he is twirling mustache evil. Arnold Moss stands out as the sleazy, but surprisingly honest Fouche.

Some people consider this a great neo-film noir. I don't see it.

I'm still waiting for a film that is really about the French Revolution that tries to seriously understand it.