Tockinit not horrible nor great

Pacionsbo Absolutely Fantastic

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

bkoganbing The one and only teaming of Jean Gabin and Marlene Dietrich is this post World War II melodrama where Gabin plays the title role of Martin Roumagnac. Gabin is in the building trades and is a working class stiff. After the war guys like him were much in demand and he's on the way to a good living.That is until he meets Dietrich who is playing one of her patented notorious women. He falls for her like a wheelbarrow full of his own bricks and goes way into cost overruns making her one grand villa. But she's marking time with him, he's a bit of amusement, Marlene's after the rich Marcel Herand whose shrew of a wife is lingering a bit too long on death's door to suit Dietrich and Herrand.Gabin and Dietrich were quite an item over here during his exile period in America before he joined the Free French. Had Martin Roumagnac been better received Dietrich might well have set up permanent residence in France. No need to dub her, Dietrich's French was as fluent as her English. As it was eventually she did make Paris her home.Some good performances to note are Jean d'Yd as Dietrich's uncle and Margo Lion as Gabin's sister. Blood relatives no nicknames involved for both. Also that of Daniel Gelin as a young student crushing out over her big time.There's a lot of similarities with Martin Roumagnac and The Letter with the roles reversed. If you've seen either the Jeanne Eagels or Bette Davis versions than you know what happens in Martin Roumagnac.The film came out in 1946 and didn't make it to our shores until 1948 because of the omnipresent Code. I think more than fans of the stars will appreciate it today.

writers_reign There's a trivia question in here somewhere albeit one serious buffs will find too easy: what are the similarities and differences between Martin Roumagnac and Les Portes de la nuit. Similarities: Gabin left France in 1940 for Hollywood; his ex co-star and ex-lover Michele Morgan was already there but instead of re-igniting their affair he started another one, with Marlene Dietrich, a somewhat heavier hitter than Morgan. Back in France after the war he commissioned top writer-director team Jacques Prevert and Marcel Carne to come up with a film to co-star himself and Dietrich; ideally it should be a bit special because his last film, L'Imposteur, had been shot in 1942, albeit not released until 1944. He was choosing wisely,Prevert and Carne had supplied him with two of his greatest pre-war hits, Le Quai des brumes and Le Jour se leve. They rose to the challenge in the shape of Les Portes de la nuit, commissioned Sandy Trauneur to replicate the Barbes-Rochechouart Metro in the studio and were ready to go when Gabin pulled the plug leaving them all dressed up and nowhere to go. Gabin turned instead to Georges Lacombe, a journeyman director with a few respectable credits but not really in the same league as Carne. Those are the similarities, but what about the differences: Well, both films were colossal flops both with the critics and at the box office. Today, half a century later Les Portes de la nuit is an acknowledged masterpiece whilst Martin Roumagnac is an acknowledged ... flop. So, what is is about? Well you might ask; in a provincial French town Marlene Dietrich is a hooker turning tricks - and I kid you not - in a room above a shop ostensibly selling birds as pets. An early scene may or may not be subtle in that Dietrich is seen pushing a bicycle in the town square though whether the expression she's the town bicycle (everybody in town has ridden her) was current in 1946 your guess is as good as mine. Gabin is, of course, surprise, surprise, the 'nice' guy who falls for her with no idea of how she pays the rent. It ends in tears, of course, as these things always do and there's a nice 'borrowing' from The Great Gatsby in the way Gabin - who has been tried and exonerated for killing Dietrich - gets his. I doubt very much if I would want to sit through this again but then what do I know.

Bob Taylor I thoroughly enjoyed the acting in this. Gabin is in good form as a decent contractor who gets mixed up with a tarty Dietrich. He keeps his star luster under control. Marcel Herrand as the oily consul de Laubry is impressive, just as he was as the thug in Les Enfants du Paradis. Jean d'Yd plays Dietrich's uncle as a shambling Monsieur Hulot figure; he's really wonderful to watch. His last scene testifying at the trial is very touching. Margo Lion plays Gabin's sister superbly; she'll be remembered after most of the story fades from memory.Marlene Dietrich and her slow sensuous drawl--what can I say about her? I found her as convincing in French as she was in German and English. She's going to win your heart even as you deplore her lack of ethics. Finally, some excellent camera-work from Roger Hubert, who shot Les Enfants du Paradis and Les Visiteurs du soir for Carne.

Sorsimus A pleasant French melodrama starring Dietrich and Gabin. Above average because of the great chemistry of the stars, although it must be mentioned that the script does not allow Dietrich to reach her very best.Also notable for its social theme, the issues that make romance impossible are small town prejudices and class barriers.Slightly overlong and slowly paced and with a silly moral climax, yet worth a look for those who like Dietrich and/ or old Hollywood melodramas.