172 Pépé le Moko

Discuss releases by Criterion and the films on them. Threads may contain spoilers!
Post Reply
Message
Author
Martha
Joined: Tue Nov 02, 2004 8:53 pm
Location: all up in thurr

172 Pépé le Moko

#1 Post by Martha » Sat Feb 12, 2005 9:22 pm

Pépé le Moko

Image

The notorious Pépé le Moko (Jean Gabin, in a truly iconic performance) is a wanted man: women long for him, rivals hope to destroy him, and the law is breathing down his neck at every turn. On the lam in the labyrinthine Casbah of Algiers, Pépé is safe from the clutches of the police—until a Parisian playgirl compels him to risk his life and leave its confines once and for all. One of the most influential films of the 20th century and a landmark of French poetic realism, Julien Duvivier's Pépé le Moko is presented here in its full-length version.

Special Features

- New digital transfer, made from newly restored film elements
- 1962 French television interview with director Julien Duvivier
- Excerpts from the 1978 television documentary Remembering Jean Gabin
- Excerpts from Ginette Vincendeau's BFI Classics study of Pépé le Moko, addressing the historical background of the film's setting and the French crime novel genre
- A study of the lasting influence of Pépé on popular culture, including a special video comparison between Pépe and the 1938 U.S. remake Algiers
- Original theatrical trailer
- New and improved English subtitle translation
- Optimal image quality: RSDL dual-layer edition

Criterionforum.org user rating averages

Feature currently disabled

Astroman
FAQ: "Man or Astroman?"
Joined: Wed Nov 03, 2004 6:31 pm

#2 Post by Astroman » Mon Nov 14, 2005 8:45 pm

This one was quite enjoyable. I was interested in it due to its reputation and for Jean Gabin (I thought he was great in Grand Illusion). I thought the sets and costumes were really vivid; I think I was somewhat expecting a less detailed look for some reason. It looked quite realistic (shot on location?). Though waaaaay different in tone, it makes for some interesting contrast to the Battle of Algiers.

I haven't yet watched the extras. I'd be interested in learning about the film's influence on later films and filmmakers. For example, the relationship between Pépé and Inspecteur Slimane reminded me a bit of Rick and Capt. Renault in Casablanca (perhaps another interesting pairing for a double feature). Also, Pépé le Moko... Pépé le Pew... coincidence? Actually, I think I read somewhere that this was indeed intentional.

Anyway, I really liked it. I know there are several Jean Gabin fans on the forum. Anyone else watch this one?

User avatar
zedz
Joined: Sun Nov 07, 2004 7:24 pm

#3 Post by zedz » Mon Nov 14, 2005 9:00 pm

Astroman wrote:I haven't yet watched the extras. I'd be interested in learning about the film's influence on later films and filmmakers. For example, the relationship between Pépé and Inspecteur Slimane reminded me a bit of Rick and Capt. Renault in Casablanca (perhaps another interesting pairing for a double feature).
The feature on the disc comparing Pepe with its remake Algiers is very revealing, establishing that large parts of the film were duplicated shot for shot (camera angle, camera movement, set design), in addition to the recycling of establishing shots and stock footage.

There is a direct line of descent from Pepe, through Algiers, to Casablanca, with the success of Duvivier's film generating a distinct subgenre of which Casablanca became the most famous example. The innovations of the original became the genre norms of the films that followed, hence the similarities.
Astroman wrote:Also, Pépé le Moko... Pépé le Pew... coincidence? Actually, I think I read somewhere that this was indeed intentional.
Absolutely: Jean Gabin's smooth lover became so iconic that the character was fair game for parody - and then the parody took on a life of its own.

Astroman
FAQ: "Man or Astroman?"
Joined: Wed Nov 03, 2004 6:31 pm

#4 Post by Astroman » Tue Nov 15, 2005 8:25 pm

And now that I've watched the extras, let me just say :oops:

Most of my questions answered, first by zedz (and thanks, btw), and the generous, context-laden extras right there on the disc.

Pépé Le Pew is definitely M. Boyer via Algiers. Speaking of which, that side-by-side comparison of Pépé and the shot-for-shot remake was painful to watch. No way did they capture the original in any way other than rank imitation. It was like Fred Travalena was directing or something.

User avatar
colinr0380
Joined: Mon Nov 08, 2004 4:30 pm
Location: Chapel-en-le-Frith, Derbyshire, UK

#5 Post by colinr0380 » Sat Feb 09, 2008 11:13 pm

I have finally watched Pépé Le Moko thanks to the prompting from Herr Schreck and enjoyed it a lot.

Mireille Balin was great as Gaby, in a part where looks are far more important than ability (though I think she does a good job) - for once the flawless, incredible movie star looks serves both the purpose of being the ultimate idealisation of an unattainable piece of France for Gabin and at the same time in more down to earth terms just of being the sex toy of a wealthy sugar daddy having a holiday romance with the bad boy!

I'm left at the end of the film wondering if I am meant to be more upset by the attitude of Gaby's companions or by Gaby herself - while her companions treat their environment flippantly Gaby stirs things up for everyone by in a way not knowing her place and that there are some gulfs between people she is not able to cross. The companions move on unaffected while Gaby has been used in plots and destroyed a number of lives before she also returns to her old life, seemingly unaffected beyond an end of fling ennui (I don't see the relationship as a grand love, more Pépé's chance to get back into a short term fling mindset and a ticket back to France while he is a fascinating diversion for Gaby). However Pépé was disillousioned before Gaby arrived on the scene so she should not be held responsible for that, and also while she returns seemingly unaffected by her adventure in the Casbah, she has also forced the sham relationship she is in into the open, and has maybe played her hand too soon by showing she was willing to give up everything for Pépé.

I particularly liked the exquisite pain of the final scenes on the boat - as with the rest of the film the action felt heightened but also felt as if it could not have played out any other way - as shown by the way the same material falls completely flat in the scenes compared with Algiers!

Algiers, along with the Psycho remake, really show the problems of recreating material technically closely but without any of the passion of the original being evident (I was mesmerised by Hedy Lamarr's rictus grin trying to recreate the brief flash of unintended happiness Balin shows when her character realises Gabin is looking her over!), it creates a strange feeling of watching something that should be emotional being played out mechanically - I get the impression that even without having seen Pépé Le Moko to compare it to, that Algiers would still not have had the same power as the earlier film (and the less said about the wonderfully cheesy and contrived way they get around the moral issues surrounding the fate of the main character the better!)

Haggai
Joined: Wed Jun 25, 2008 9:31 am
Location: San Diego

#6 Post by Haggai » Sat Sep 13, 2008 11:06 am

Watching Gabin in the just-released DVD of Moontide, I got to thinking about this movie again and remembered something I'd been meaning to ask around here: what, exactly, does "le Moko" mean? Was it a slang term referencing where the character was from, or something else about him?

User avatar
The Fanciful Norwegian
Joined: Tue Nov 02, 2004 2:24 pm
Location: Teegeeack

#7 Post by The Fanciful Norwegian » Sat Sep 13, 2008 11:25 am

Wikipedia (yeah I know) says it means "a man from Marseilles."

Haggai
Joined: Wed Jun 25, 2008 9:31 am
Location: San Diego

#8 Post by Haggai » Sat Sep 13, 2008 11:40 am

Oh, OK, I hadn't heard that before. It at least sounds believable.

I remember having it explained to me that "Tony le Stephanois" in Rififi is a reference to him being from St. Etienne, sort of like calling someone "the Angeleno" in a U.S. film if they're from L.A.

tylergfoster
Joined: Tue Feb 18, 2014 4:11 am

Re: 172 Pépé le Moko

#9 Post by tylergfoster » Tue Feb 18, 2014 4:19 am

Just curious if this has been rumored for an upgrade at any point? In the back of my mind, I feel like I remember there was a restoration, maybe Masters of Cinema, planned for 2014?

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: 172 Pépé le Moko

#10 Post by domino harvey » Sun Aug 09, 2015 11:48 am

Pépé le Moko really is quite the master thief, as evidenced by his snatching of Jean Gabin's monogrammed dress shirt:

Image

User avatar
whaleallright
Joined: Sun Sep 25, 2005 12:56 am

Re: 172 Pépé le Moko

#11 Post by whaleallright » Mon Aug 10, 2015 7:08 pm

For some reason, that reminds me of this brand of construction-site lift equipment no doubt named in homage to Jean-Luc Godard.

Image

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#12 Post by FrauBlucher » Fri Jun 28, 2019 6:20 pm

Has there been a restoration floating around Europe or rumored to be under way?

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#13 Post by FrauBlucher » Tue Jul 02, 2019 11:22 am

It's still listed on Janus' site, so I assume they still have rights in the states. On IMDB Studio Canal is not listed at all.

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#14 Post by FrauBlucher » Sun Jul 14, 2019 5:20 pm

Can someone speak to the technical aspect of the DVD. I watched this and while much looks great there is a fair amount of soft, almost blurry shots. Is that inherent in the source material?

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#15 Post by FrauBlucher » Sun Mar 28, 2021 12:42 pm

TCM's Noir Alley had this on this morning. It was fun hearing Eddie Muller's intros and outros for the film, although much of his facts I've heard before but one he suggested I didn't know was that Truffaut was not a fan of Duvivier or Gabin. Is that true for others of the French New Wave era? He also mentioned that Algiers was shot for shot the same film except for the ending.

I really hope a Criterion bluray is on horizon. Just curious... anyone who has the DVD does it state what the source material is?

User avatar
criterionsnob
Joined: Wed Nov 03, 2004 1:23 am
Location: Canada

Re: 172 Pépé le Moko

#16 Post by criterionsnob » Sun Mar 28, 2021 1:25 pm

The Criterion DVD states:
Pépé le Moko is presented in its original theatrical aspect ratio of 1.33:1. This new digital transfer was created from a 35mm fine-grain master positive which, in turn, was created from the original 35mm nitrate camera negative and additional film elements restored by StudioCanal in Paris under the supervision of Michel Rocher and Brigitte Dutray. Certain imperfections in the negative have been retained in order to preserve the richness of the black and white.

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#17 Post by FrauBlucher » Sun Mar 28, 2021 1:44 pm

Thanks. I wish the 4k restoration David Hare suggested was done and screened at Bologna a number of years ago would screen at other events

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: 172 Pépé le Moko

#18 Post by domino harvey » Sun Mar 28, 2021 2:29 pm

FrauBlucher wrote:
Sun Mar 28, 2021 12:42 pm
TCM's Noir Alley had this on this morning. It was fun hearing Eddie Muller's intros and outros for the film, although much of his facts I've heard before but one he suggested I didn't know was that Truffaut was not a fan of Duvivier or Gabin. Is that true for others of the French New Wave era?
There’s this for Truffaut and more encompassingly this for his late 50s and 60s output -- keep in mind this second link is on late-period Duvivier, which is way harder to defend, and for good reason. I've seen five of the films covered in the latter round-up and other than Chair de poule being a little better than the journal's estimation (though not enough to really muster much of defense), the other four (La femme et le pantin, Boulevard, Le diable et les dix commandements, and Diaboliquement vôtre are all atrocities (as is L'affaire Maurizius, which came out right before this survey started) and seem too generously rated even when they bulleted them!

User avatar
Fred Holywell
Joined: Thu Jun 10, 2010 11:45 pm

Re: 172 Pépé le Moko

#19 Post by Fred Holywell » Sun Mar 28, 2021 6:09 pm

FrauBlucher wrote:
Sun Mar 28, 2021 12:42 pm
TCM's Noir Alley had this on this morning. It was fun hearing Eddie Muller's intros and outros for the film, although much of his facts I've heard before but one he suggested I didn't know was that Truffaut was not a fan of Duvivier or Gabin. Is that true for others of the French New Wave era? He also mentioned that Algiers was shot for shot the same film except for the ending.
Here are the Eddie Muller intro and outro for TCM's screening of Pépé le Moko.
The gorgeous cinematography by Marc Fossard and Jules Kruger can now be fully appreciated thanks to the Criterion company's recent digital restoration.
You can see some clips of the resto in the piece.

User avatar
FrauBlucher
Joined: Mon Jul 15, 2013 8:28 pm
Location: Greenwich Village

Re: 172 Pépé le Moko

#20 Post by FrauBlucher » Sun Mar 28, 2021 8:38 pm

Fred Holywell wrote:
Sun Mar 28, 2021 6:09 pm
The gorgeous cinematography by Marc Fossard and Jules Kruger can now be fully appreciated thanks to the Criterion company's recent digital restoration.
You can see some clips of the resto in the piece.
This went over my head. After rewatching the clips used in the intros and outros there definitely has been some sort of restoration, although I don't believe the restoration was used by TCM to air the film. So, was Muller leaking that Criterion will be releasing this sooner than later?

domino harvey wrote:
Sun Mar 28, 2021 2:29 pm
FrauBlucher wrote:
Sun Mar 28, 2021 12:42 pm
TCM's Noir Alley had this on this morning. It was fun hearing Eddie Muller's intros and outros for the film, although much of his facts I've heard before but one he suggested I didn't know was that Truffaut was not a fan of Duvivier or Gabin. Is that true for others of the French New Wave era?
There’s this for Truffaut and more encompassingly this for his late 50s and 60s output -- keep in mind this second link is on late-period Duvivier, which is way harder to defend, and for good reason. I've seen five of the films covered in the latter round-up and other than Chair de poule being a little better than the journal's estimation (though not enough to really muster much of defense), the other four (La femme et le pantin, Boulevard, Le diable et les dix commandements, and Diaboliquement vôtre are all atrocities (as is L'affaire Maurizius, which came out right before this survey started) and seem too generously rated even when they bulleted them!
Thanks for this Domino, I'm not familiar with Duvivier's later work. I have only seen some of his 30's and 40's output up to Panique, all of which I very much enjoy. But it sounds to me like the critics were trying to at least be respectful of Mr Duvivier even though they disliked what he was putting out, which Duvivier was not happy about nonetheless. Am I reading that right? Is it safe to say they gave his early work praise?

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: 172 Pépé le Moko

#21 Post by domino harvey » Sun Mar 28, 2021 9:17 pm

This may help, from Cahiers' 1957 guide to French directors (written by various contributors including Truffaut but not assigned to any) (translation by jdcopp)
Julien Duvivier

Some tell you that today’s Duvivier is not worthy of yesterday’s Duvivier and rate L’Affaire Maurizius by wailing for Pépé le Moko. One could respond by burning Un carnet de bal in the name of Sous le ciel de Paris. In fact, Duvivier’s career is like a temperature chart with spiked highs and vertiginous slumps that, when led back to a happy medium witnesses an enviable warmth. If it it is rare that his films make rapt, it is rarer that his films make bored. His taste for a certain style of the baroque, culminating with La Fête à Henriette make him the champion of the unexpected, often guileful, sometimes aggravating. Constructed in stucco rather than cut in marble, his structures are not those that last but perishables are not the lest of foodstuffs.
If you're still not quite sure what to make of their take, well, welcome to Cahiers du Cinema!

User avatar
Fred Holywell
Joined: Thu Jun 10, 2010 11:45 pm

Re: 172 Pépé le Moko

#22 Post by Fred Holywell » Sun Mar 28, 2021 9:42 pm

FrauBlucher wrote:
Sun Mar 28, 2021 8:38 pm
Fred Holywell wrote:
Sun Mar 28, 2021 6:09 pm
The gorgeous cinematography by Marc Fossard and Jules Kruger can now be fully appreciated thanks to the Criterion company's recent digital restoration.
You can see some clips of the resto in the piece.
This went over my head. After rewatching the clips used in the intros and outros there definitely has been some sort of restoration, although I don't believe the restoration was used by TCM to air the film. So, was Muller leaking that Criterion will be releasing this sooner than later?

I DVR'd the movie, but haven't watched it yet, primarily 'cause I've seen it a few times before. The impression I got from Muller was that we were going to see a restored print, though that may not have been the case. The clips do look pretty nice to me and sharper/cleaner than I remember the Criterion DVD being. I'll have to look at the screening itself and see if I notice any difference. The fact that Muller mentioned Criterion seems a hopeful sign for an upcoming rerelease.

User avatar
domino harvey
Dot Com Dom
Joined: Wed Jan 11, 2006 2:42 pm

Re: 172 Pépé le Moko

#23 Post by domino harvey » Sun Mar 28, 2021 9:48 pm

He is likely in their loop of contributors. Would be nice to see a reissue with the Boyer film given that it’s in the public domain

User avatar
mizo
Joined: Mon Aug 06, 2012 10:22 pm
Location: Heard about Pittsburgh PA?

Re: 172 Pépé le Moko

#24 Post by mizo » Sun Mar 28, 2021 10:25 pm

Regarding the Truffaut-Duvivier connection, it's worth noting that, despite the criticism, Duvivier quite liked Truffaut personally. There was even talk (in 1956 I think) of the two men collaborating on a screenplay. From Antoine de Baecque and Serge Toubiana's Truffaut biography (translated by Catherine Temerson):
From his contact with directors, Truffaut developed an increasing desire to become a director. Strangely enough, it was Julien Duvivier, an old-timer in French cinema, who suggested that they collaborate on the writing of a screenplay. Truffaut had not always been kind to Duvivier, but he had liked his most recent film, Voici le temps des assassins (Deadlier than the Male). The two men met in Cannes and discussed a project called Grand Amour, about an average man's love life. But Duvivier was monopolized by another project, the adaptation, with René Barjaval, of a murder mystery, L'Homme à l'imperméable (The Man in the Raincoat).

In mid-August, he wrote Truffaut a wonderful letter: "Last night I had a strange dream. You and I were at Le Havre. We were about to embark for America on a huge ocean liner whose name I saw very clearly: L'Atlantique....I was inviting you on the trip!!! But when it was time to board, I noticed that I hadn't booked your passage....You flew into a mad rage, and told me a few plain truths. So I went to see the chief purser, who remembered that I had crossed in 1948 and gave me a cabin. Then all of a sudden we were at sea and I was called to the telephone....I'll never know who was calling me because at that point I woke up." A trip to America, a Freudian slip (one ticket for two!), an angry young man telling an experienced director some plain truths - Duvivier's dream reveals the nature of an ambiguous relationship between an experienced director and a critic who still has some way to go before crossing over to the other side. Yet Duvivier's letter ends on a very amicable note: "I would like to have you as a collaborator, if you still desire it as well. Let me know what you've been up to recently and what your plans are. Please see me as a friend who thinks highly of you and likes you."
The project with Duvivier of course never materialized, though a fun epilogue to this is that Voici le temps des assassins had featured a young Gérard Blain, whom Truffaut singled out for praise in his review of the film in Arts. Blain was moved and sent Truffaut a thankful note, initiating a friendship that would then lead to Blain and his wife Bernadette Lafont's casting in Les Mistons.

User avatar
knives
Joined: Sat Sep 06, 2008 6:49 pm

Re: 172 Pépé le Moko

#25 Post by knives » Mon Mar 29, 2021 10:38 pm

domino harvey wrote:
Sun Mar 28, 2021 9:48 pm
He is likely in their loop of contributors. Would be nice to see a reissue with the Boyer film given that it’s in the public domain
It’s a good little movie and would make a pleasant extra on a reissue.

Post Reply