L'assassin Habite au 21

L'assassin Habite au 21 is a compelling film from 1942 that masterfully intertwines elements of suspense, murder mystery, and dark humor. Directed by the acclaimed Henri-Georges Clouzot, the movie represents early French cinema at its finest. Made during the German occupation of France, it is a testament to the resilience and creativity of the French film industry in a challenging time.

The film's narrative revolves around a series of enigmatic and horrifying murders happening in Paris. Pierre Fresnay plays the role of Inspector Wens, a brilliant and tenacious detective sent to solve these intricate cases. Equipped with an astute mind and a knack for sleuthing, he's tasked with a mission to unravel the identity of the elusive killer, known only as "Monsieur Durand", who is causing widespread panic and fear.

Wens is accompanied by his audacious girlfriend and aspiring singer Mila Malou, played by the talented Suzy Delair, whose flamboyance and quirky charm serve as a contrasting comic relief. Together, they stumble upon a boarding house called the Mimosas, located at 21 Avenue Junot. The guest list at this place, consisting of an intriguing mix of eccentric individuals from various backgrounds, quickly becomes the key suspect pool for Inspector Wens. Adding to the suspense, each clue they uncover indicates that "Monsieur Durand" could be any one of the residents living at address 21.

Pierre Fresnay delivers a stellar performance as the pensive and determined investigator, executing his role with a balance of nuance and flamboyance that draws you into his pursuit. He embodies the cunning and relentless spirit of a detective in the midst of an investigation that becomes more convoluted and perilous with each passing scene. Likewise, Suzy Delair brilliantly portrays the character of Mila, bringing a unique blend of humor, vitality, and intrigue to the film.

Beyond the engaging plot and memorable performances, L'assassin Habite au 21 distinguishes itself through its tangible atmosphere and rich visual aesthetic. Despite the grim premise, the film consistently maintains a certain lightness made possible by its well-crafted humor and irony. As such, the film provides an intriguing exploration of human characters and their diverse reactions to the ominous presence of a killer in their midst.

Moreover, the direction and cinematography of the film contribute to creating an engrossing mood the audience can immerse themselves in. The influence of German Expressionism can be discerned in the shadow-filled sets, skewed angles and high-contrast lighting. The film cleverly plays with dark and light, with clues subtly hidden and revealed through the interplay of shadows. The practical set designs, reminiscent of stage play, not only reflect the film's theatrical origins but also contribute to the claustrophobic atmosphere within the Mimosas boarding house, amplifying the increasing tension and mystery in the storyline.

The film's screenplay, based on the novel by Belgian writer Stanislas-André Steeman, further fortifies the narrative with intense dialogues and an intricate plot. L'assassin Habite au 21 also eloquently addresses the broader social issues of paranoia, suspicion, and community fear, reflecting the real-time war environment at the time of its production.

Overall, L'assassin Habite au 21 proves to be a nerve-wracking, suspense-driven murder mystery that captivates the audience through its dynamic characters, dark humor, and masterfully directed setting. For the discerning cinephile, this film proves to be an important touchstone in the evolution of noir film-making and represents an engrossing entry in the catalogue of early French cinema.