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Bonnes à tuer (1954) HD online

Bonnes à tuer (1954) HD online
Language: English
Category: Movie / Drama / Romance / Thriller
Original Title: Bonnes à tuer
Director: Henri Decoin
Writers: Patricia McGerr,Henri Decoin
Released: 1954
Duration: 1h 30min
Video type: Movie
Francois Roques, a power-and-money-mad editor of a Paris newspaper (who justifies his actions by calling attention to his poverty-stricken childhood), invites four women to a housewarming at his penthouse apartment. He plans on one of them to meet death by means of a loose railing on the balcony. The invitees are: Constance, Francois' first wife, whose love and integrity also stood in the way of his schemes; Vera Volpone, his second wife, from whom he is seeking a divorce, and who, with the aid of her lover, is blackmailing Ffancois; Maggy, his mistress who aids him in his illegal transactions; and Cecile, his fiancée, who is pregnant by another man. The women arrive, tension overwhelms them and the host, three of the women depart...and Francois is alone with his intended victim. Despite a misleading Review/Comment on this site-page, the keyword is "intended."
Cast overview, first billed only:
Danielle Darrieux Danielle Darrieux - Constance Andrieux
Michel Auclair Michel Auclair - François Roques dit Larry
Corinne Calvet Corinne Calvet - Véra Volpone
Gérard Buhr Gérard Buhr - William Jordan, l'américain
Lyla Rocco Lyla Rocco - Cécile Germain-Thomas
Roberto Risso Roberto Risso - Mario Mirador, l'amant de Véra
Gil Delamare Gil Delamare - Forestier, un ami de François
Miriam Di San Servolo Miriam Di San Servolo - Maggy Lang (as Myriam Petacci)
Ky Duyen Ky Duyen - Bao, le serviteur
Émile Genevois Émile Genevois - Le postier
Jean Berton Jean Berton - Un inspecteur
Jean Sylvère Jean Sylvère - L'aveugle
Anne-Marie Mersen Anne-Marie Mersen
Jean Duval Jean Duval
Louis Viret Louis Viret

The original American novel "Follow as the night" by Patricia McGerr won the Grand Prix de Littérature Policière in France in 1952, when it was translated into French under the title "Bonnes à tuer".

Censorship visa (Visa de contrôle cinématographique) n°15.895.

Reviews: [2]

  • avatar


    She was there one minute Lying in a pool of herself

    And then she was gone the next

    With a twisted neck.

    O she fell from the roof to the ground....

    A crowd gathers around the building as the cops shout " move along!" .Someone fell from the terrace of "Larry" 's luxury flat. Larry (Michel Auclair)had gathered for a formal occasion his ex-wife (Darrieux),his wife (Corinne Calvet),his fiancée and his mistress.An ominous stormy evening in a chic apartment with champagne served by a Chinese butler.There was a bad moon on the rise;it seemed that someone was going to get killed tonight.But which of the four women?

    The ex-wife?

    She crossed a lot of people

    Some she called friends

    She thought she'd live forever

    But forever always ends.

    Darrieux portrays a painter who remained loyal and true to her friends,which her ex-husband did not.

    The fiancée?

    She used to live the life she used

    To live life with a vengeance

    And the chosen would dance

    The chosen would dance in attendance

    The fiancée is a spoiled child,she thinks that her dad's money can buy her anything .She's pregnant by a student who disappeared but she won't care if Larry passes for the father in her folk's eyes.

    The wife?

    She used to have style

    She used to have style and to use it

    And they say it turned bad

    When the truth came around and she refused it

    She married Larry just because thanks to him,an unscrupulous journalist,her false suicide made the headlines.(It's thoroughly credible:a French actress did that in 1947) Like Larry, would do anything to get fortune and fame.

    The mistress?

    They did not find no killer

    and they did not find no note.

    Maggy is a shady lady,who seems to blackmail Larry ;he' d like to recover a receipt she owns.

    This is a fine film noir by Henri Decoin,which does not equal his best in the field ("non Coupable" "La Vérité sur Bébé Donge" ),but where the suspense is sustained till the very end and its unexpected twist.The flashbacks are introduced in an unusual aggressive way.They begin with bells: they herald a wedding but they sound like a toll.

    Darrieux and Auclair would team up again in Périer's "Meurtres en 45 tours" (1960)

    Many lines of this comment were taken from the lyrics of Richard Thompson's extraordinarily gloomy song "Did she jump " on his "Shoot out the lights' majestic album (1982).
  • avatar


    Henri Decoin and Danielle Darrieux made some wonderful movies together whilst they were married (1935 - 41) and Bonnes a tuer shows that divorce did nothing to destroy their peculiar magic. Top-billed Darrieux has only marginally the lion's share of screen time and for reasons best known to himself - or the Front Office - Decoin used one French Actress (Corinne Calvet) who had been resident in Hollywood since 1949 and made the bulk of her films there and two Italians (Miriam de San Servolo, the real life sister of Claretta Petacci who was hanged with her lover Mussolini at the end of the war) and Lila Rocco as the three other women in the life of Michel Auclair, who has gathered them together for dinner in his penthouse overlooking the Champs Elysee and thoughtfully weakened the safety barrier. The suspense comes from knowing, via the opening scene, that SOMEONE is lying on the sidewalk wondering who has the oxygen concession and we want to know who, natch. Master that he is Decoin begins as the camera dollys in to the empty dining room of the penthouse resplendent with crisp napery, cutlery and glassware and ends the film with a dolly OUT of the same scene. Within this main flashback are others as three of the four women remember incidents from their past with Auclair and Decoin skillfully racks up the tension throughout but more so after Darrieux discovers that the safety barrier has been tampered with. This has everything the discerning viewer wants from a film and the mystery is why, with films as good as this being turned out in the mid fifties those cowboys from Cahiers were ever allowed to perpetrate their ANTI-films a couple of years later but the good news is that the new wavelet soon became merely a trickle and lives on today only in the work of Erich - come-and-let's-watch-paint-dry Rohmer.