Review: ‘The Impostor’

Fall of France in 1940, and subsequent formation of Free French units in Africa, forms basis for this adventure drama, which unfolds tale of regeneration of a confirmed criminal through comradeship in arms. Julien Duvivier fails to generate pace fast enough to carry picture along for more than moderate attention.

Fall of France in 1940, and subsequent formation of Free French units in Africa, forms basis for this adventure drama, which unfolds tale of regeneration of a confirmed criminal through comradeship in arms. Julien Duvivier fails to generate pace fast enough to carry picture along for more than moderate attention.

Story tells of how Jean Gabin is saved from the guillotine, for murder, at Tours by Nazi air bombing, heads south and assumes the identity, papers and uniform of a dead French soldier along the road. Joining group of refugee soldiers who enlist in the Free French forces, Gabin’s army association gradually transforms the criminal; he leads a small unit overland for attack on Italian desert base and is decorated for gallantry, under the name of the dead man whose identity he assumed.

The Impostor

Production

Universal. Director Julien Duvivier; Producer Julien Duvivier; Screenplay Julien Duvivier, Stephen Longstreet, Marc Connelly, Lynn Starling; Camera Paul Ivano; Editor Paul Landres; Music Dimitri Tiomkin; Art Director John B. Goodman, Eugene Lourie

Crew

(B&W) Extract of a review from 1944. Running time: 93 MIN.

With

Jean Gabin Richard Whorf Ellen Drew Peter Van Eyck
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