The Film (4/5)

France is living in fear of a mysterious serial killer known only as “Monsieur Durand”. This is thanks to all his victims being found with a business card on their corpses. With the French police force at a loss for clues, Inspector Wenceslas “Wens” (Pierre Fresnay) and his flamboyant Wannabe Opera singer wife Mila (Suzy Delair) start an investigation which leads to a boarding house at #21 Ave. Dressed as a Priest, Wens is convinced that one of the tenants is the murderer, but which one or more is it.

Henri- Georges Clouzot became one of the most famous French directors in the 1950’s thanks in part for out “Hitchcocking” Alfred Hitchcock with his 1955 thriller, LES DIABOLIQUES. That movie and its bathroom scenes, quickly made Clouzot a master to pay attention to. But while that film, and 1954’s WAGES OF FEAR are known the world over, his earlier films are not as highly praised. In 1942, he made his feature film debut as a director with L’ASSASSIN HABITE AU 21 (aka THE MURDERER LIVES AT 21). MURDERER is pretty daring as it’s one of the first serial killer movies, and in some sections, works as a blue print for German Krimi’s and some of the early Italian gialli. But what is most surprising is the film’s use of slapstick comedy and dry wit.

From the opening tracking POV shots to some of the close-ups on weapons, MURDERER has the DNA of future thrillers shown in its rawest form. And it’s this fusion of Comedy and thriller that makes the film so damn entertaining. While the character of Mila may be the furthest example of a feminist, her ditzy and energetic attitude makes her quickly enjoyable and engaging. And our hero Wens, is the type of William Powel/ THIN MAN wise guy to get the job done. The interplay between the two also make up for some of the pacing issues in the script.

With this being a debut picture, Clouzot has a sure hand in directing. Aside from a few minor hiccups, like the shadow of the camera being seen a few times, the film feels like it was made by a seasoned pro.  The camera work, lighting, and staging of scenes feel more contemporary. Clichés and tropes are thrown around, but the eccentric characters give it a new light. One of the best directed scenes, is Wens poor attempts to search the rooms of the various suspects. Every door he opens leads to another scene being trapped in a awkward social environment.

If you’re a fan of gialli or THE THIN MAN Films, then you will be in great company.

Audio/Video (4/5)

MURDERER LIVES AT 21 comes with a LPCM French language track. The 2.0 sound mix is held up well, and remastered to gorgeous affect. The score and effects are clear as day. There’s no noticeable issues like hiss or pops. English subtitles are included.

The 1080p HD picture is a little rough in spots. There are some blurry moments here and there. There is some minor film grain. As for the rest of the picture, it has held up for a 1943 movie. The black levels are smooth and well defined. Overall an above average transfer.

Extras (3/5)

The main extra is an interview with French film scholar Ginette Vincendeau. In the interview She covers Clouzot’s career, influences, impact, and the origin of MURDERER LIVES AT 21.  In the case itself, is a 28-page booklet of liner notes with interviews, essays, and production stills.

Overall (4/5)

Clouzot’s debut is one of the most enjoyable French comedies/thrillers I’ve seen. A hidden gem waiting to find a new audience. Highly Recommended.