Casque d'Or (1952)
At the end of the 19th century, during a ball in Joinville, on the outskirts of Paris, Georges, a former delinquent working as a carpenter, meets Marie, a young woman connected to a criminal gang.
- Jacques Becker
- Marcel Camus
- Colette Crochot
- Michel Clément
- Jacques Becker
- Jacques Becker
- Jacques Companéez
- Jacques Becker
Rating: 7.3/10 by 178 users
Alternative Title:
Blonde Marie - NO
En un suburbio de París - AR
Gouden Helm - BE
Rakastajatar - FI
Aranysisak - HU
肉体の冠 - JP
La reina del hampa - MX
Aquela Loura - PT
Die Sünderin von Paris - DE
Golden Marie - GB
Country:
France
Language:
Français
Runtime: 01 hour 39 minutes
Budget: $0
Revenue: $0
Plot Keyword: jealousy, paris, france, male friendship, death sentence, guillotine, femme fatale, beautiful woman, carpenter, french noir, criminal gang, dance hall, 19th century, stabbed to death, belle epoque, gang moll
Simone Signoret is on great form here as the beautiful barfly who gets herself mixed up in an internecine series of relationships with a gang of petty criminals. She's supposed to be courting "Raymond" (Raymond Bussières) but isn't averse to the odd flirtation and he gets quite irked when she spends some time with the already engaged carpenter "Manda" (Serge Reggiani) - also to the chagrin of their vintner boss "Leca" (Claude Dauphin) who also has his eye on her. She falls out with her beau after this encounter despite assuring him that he's got the wrong end of the stick - and this leads her to recalibrate just what she wants for herself rather than just pleasing those around her. Meantime, the relationship between the three men is beginning to fray and for all concerned, things are starting to look just a little bit hostile - dangerous even - as the green eyed goddess of jealousy turns up to sow seeds of rancour and discord. The story itself isn't actually that great, it's the dark and gritty photography and the powerfully paced direction from Jacques Becker (who also adapted the screenplay) that gives it more character and allows Signoret to shine here. Her persona is flawed and actually not that likeable, but somehow I still felt like I was bothered about what happened to her. I can't say I was remotely fussed about her admirers, though - and the last few scenes felt quite suitable, if a touch brutal, to me. It's also worth factoring in the impact of the Van Parys score - that also adds a seaminess to the whole thing and though I can't say it's enjoyable, per se, it's a cracking piece of drama.
