User reviews

"A Scandal in Paris" is a 1946 film starring George Sanders, Akim Tamiroff, Signe Hasso, and Carole Landis. Directed by Douglas Sirk, it's based on the memoirs of François-Eugène Vidocq, a thief who became the Chief of Police in the 18th Century. The story begins with Francois being born in a jail and covers his European escapades. At one point, he poses for a painting of St. George and rides off on the horse he sits on; later, a marquise's granddaughter (Hasso) falls in love with the face in the painting and recognizes him when he comes to stay with her grandmother...and steal her jewels.

A very witty script that is perfect for the elegant, handsome Sanders. This role seems tailor-made for him. The beautiful Carole Landis plays one of his victims, a showgirl with a valuable garter. Sadly, by this time, her career had really stalled out. She's still a bright and glamorous presence. Hasso is an odd choice for an ingénue role, though she does a good job.

Entertaining film, particularly because of George Sanders.

Although the story line bogs down a bit and the plot gets a bit thick at times to follow, for fans of George Sanders this film is an absolute must. I cannot imagine anyone else but Sanders in the lead as the con man Eugene Francois Vidocq the thief who rises to become the head of the Paris PD and then gets put in charge of the security at the bank. The better to rob it when the time comes.

Even when in the greatest of danger of exposure Sanders is never at a loss for word, wit or wits. The only one who knows the whole story of Sanders is Akim Tamiroff and he won't tell.

I cannot and will not spill any of the elaborate plans that Sanders makes, but it involves his ability to con every one so that he is trusted implicitly.

One should also take careful note of Gene Lockhart who usually is playing sniveling rats. Here for a change of pace he's a detective who Sanders makes an absolute fool out of.

Forget Addison DeWitt and the Oscar Sanders won for playing him, A Scandal In Paris is no doubt his career role. And he looks like he's having such a good time in the part.

A kind of anti-Les Miserables, this sophisticated period comedy inverts conventional morality, following a thief/scoundrel as he rises to become the chief of police of Paris. This makes an ideal showcase for George Sanders at his peak of suavity, which he maintains even in a blond wig while posing for a portrait of St. George [this evolves into a theme of the film: "In all of us there is a St. George and a dragon"]. Naturally, Sanders effortlessly spins aphorisms: on adultery, he murmurs, "Sometimes the chains of matrimony are so heavy they have to be carried by three".

Very much a production of displaced Europeans [Sirk, Shuftan, Eisler, Pressburger], the story celebrates a continental tolerance ["No man is a saint"]. Douglas Sirk clearly enjoys the subversive charm of the criminal mind which stays sharp by exploring all the possibilities for larceny. However, Sirk is not cruel: the provincial victims are not buffoons; they are just not sharp enough to see all the angles in each situation. He does not mock the cheerful dowager [Alma Kruger] who is eager for more adventurous company, and even the bumbling cuckold [Gene Lockhart] is ultimately touching when he disguises himself as a canary-merchant.

Like its contemporary, Renoir's DIARY OF A CHAMBERMAID, this sometimes seems like a European film trapped in Hollywood. However, while the first hour sometimes strains to be "naughty" [as in a decorous skinny-dipping scene], Sirk is able to unify the tone more successfully than Renoir. If Signe Hasso seems a bit old [at 30] as the wide-eyed ingenue, and Carole Landis struggles through her music hall number, Sirk guides both of them to satisfying moments, justifying their casting. The plot – involving a garter made of rubies, a monkey called Satan, and a Chinese carousel with a giant Pekinese to ride -- develops increasingly clever and surprising twists, to a pleasing conclusion.

I love George Sanders; he is actually my favorite actor of all time; and that is quite a list I have. His droll, sarcastic delivery made even the most mundane line of dialogue crackle with wit. There has not been an actor before or since who could do romantic comedy or even romantic drama as well. Cary Grant came close, as did Errol Flynn, but they both took a back seat to Sanders. There is no such thing as a romantic lead that could hold up against him; no female actress could come close to his delivery of lines. Bette Davis was about as close to him as any great actress could get; but even she paled in comparison when he was delivering lines on the big screen. This silly story of the 18th century France could have been set in any century or time period and Sanders would still have made it work. The rest of the characters are quite forgettable, but people will remember this film just for Sanders.

Romanticized and not entirely historically accurate, but nevertheless an entertaining movie about Eugene Francois Vidocq, (based on his memoirs, which were probably not entirely accurate either) who goes from thief to Chief of Police in Paris, with quite a lot of adventure in between. (there's a funny scene where he's posing in armor on a horse, for a portrait of St. George, then steals the horse and runs off, later committing another theft by stealing a bejeweled garter from a lovely singer/gold digger, played by Carole Landis. Meanwhile, his portrait is admired by Theresa (Signe Hasso), granddaughter of the Marquise de Pierremont, who soon falls for the real man.

There's a couple of touching scenes. In one, Eugene tells Teresa the difference between her and Loretta, is that in Loretta's eyes he sees the man he is, but in Theresa's, he sees the man he could be. In another, Theresa steals some jewelry (ones that will belong to her anyway) to let him know that she'll love him no matter what, and wants to be part of his life, even if it means becoming like him.

I won't give away any more details, except to say that Jo Ann Marlowe gives a great performance as Theresa's precocious little sister, who tells Eugene she knew all about him from the start.

A fun movie!

"Vidocq" - well that's the name he ultimately elects to stick with - has something of the "Oliver Twist" to the story of his birth. His mother was a petty thief, constantly in and out of jail, so he decides to follow in the family tradition where he (now George Sanders) meets "Emile" (Akim Tamiroff) and the two set about making themselves their fortunes! Their lively adventures eventually take them to the home of the influential Marquis de Pierremont where using a fair degree of guile - and having secured the amorous attentions of his grand-daughter - he finds himself chief of police and ideally situated to relieve the Bank of Paris of 50 million Francs. Thing is, the man he dispossessed of the job (Gene Lockhart) is convinced that something is amiss and is determined to expose the charlatans. Meantime, the erstwhile inscrutable "Vidocq" might actually be falling in love and considering a decent life on the right side of the law! I quite like the mischievous premiss here, and the first ten minutes - with a witty accompanying narrative - are quite entertaining. Thereafter, though, it all rather falls into a predictable melodramatic romp through Parisian society and the kleptomaniac tendencies of our hero start to become subsumed into a sea of romantic slush - despite the more venal aspirations of "Loretta" (Carole Landis). The production is really stage bound - especially noticeable with some of the supposedly outdoor scenes - and there's just too much chat and not enough interesting going on. I was quite disappointed with this plodding fancy dress drama, sorry.

This film is excellent! I don't understand why anyone would call this the "nadir" of Sirk's career, as it is far more intelligent than any of Sirk's famous melodramas. While I enjoy those films, this remains my favorite Sirk picture. The story chronicles the misadventures of pretty rascal turned gentleman thief, Eugene Vidocq, played by the eternal screen cad George Sanders. This is one of Sanders' best caddish roles, as he sidles around chateaux and graveyards, uttering lines such as "sometimes the chains of marriage as so heavy they must be carried by three". In addition to the witty, frothy humour, there is a dark undercurrent to the film that is evidenced in its noirish photography and the amorality of the lead characters. High recommended to fans of Old Hollywood who enjoy the more eclectic films of that period!

George Sanders as Eugene Francois Vidocq, a clever French crook (and a very flimsy representation of the amazing real-life template), is both the lead actor and narrator of this film in which he neatly swindles his way from a lowly prison cell to the top of French society delivering a bounty of aphorisms along the way. The real-life Vidocq began as a rough-and- tumble child criminal and ended up a government minister.

Sanders basically delivers the same polished performance seen in numerous other films, from "Man Hunt" (1941), through "The Picture of Dorian Gray" (1945) and "All About Eve" (1950): the cool, cultivated, continental, dry wit with just the right suggestion of the animal beneath. Carole Landis, in what may be her finest role, is both funny and chilling as a self-centered show girl who blatantly uses her beauty to catch wealthy men. Signe Hasso (who looks distractingly like Margaret Sullavan) plays the daughter of the minister of police; she falls in love with Sanders but is as lifeless and damp here as she is vivacious and crackling in "The House on 92nd Street," made the year before.

The film is obviously 100% studio made, with painted backdrops to represent the French countryside. But since scenery is not the point here, this drawback can be overlooked. It's an unusual film about an extraordinary man, here reduced to a sort of Sherlock Holmes who strides both sides of the law.

Have always wanted to view this film starring George Sanders,(Eugene Francois Vidocq) along with Signe Hasso,(Therese De Pierremont) and Carole Landis ( Loretta). This film had plenty of comedy, drama and romance going on with sexy Loretta who doesn't mess around with Eugene Vidocq except when she lets him take her garter off her leg in those horse draw carriages in France years and years ago. Gene Lockhart,(Police Chief Richet) who marries Loretta and becomes a jealous lover and follows her throughout the streets of Paris with bird cages on his back. Gene Lockhart gave a great supporting role and was the father of June Lockhart in the series, "Lassie". Akim Tamiroff, (Emile Vernet) was a buddy to Eugene Vidocq and was another great thief and professional con-man who would steal a bind man of his pencils. It was great seeing Carole Landis looking so sexy and beautiful and who took her own life in 1948. This is a great Classic film from 1946 and well worth your time to view. Enjoy !

his costume drama is ill cast and without charm.

George Sanders was a superb character actor. But he is thoroughly implausible here as the lead, an Eighteenth Century rogue known for his philosophy and great good looks. His costar is, of all people, Akim Tamiroff. Some Frenchman! Then there's Signe Hasso, in a dark wig, as the virginal daughter of a wealthy family. Carole Landis fares best. The movie opens with her in silhouette. She is a soubrette, and a naughty girl at that. She disappears for a while but turns up in an improbably situation. But she's good. She was always an appealing actress. Here she is cast closest to her usual type of role.

It's meant to be a little naughty, kind of ooh-la-la. It ought to have had a light touch but it's a leaden affair from start to finish.

The movie is totally Sanders', and one of his finest--certainly one of his finest NON-supporting roles. BUT, it is also Landis's finest performance--her Flame Song is beautifully performed and foreshadows [sic--in both sense of the term]her final demise. See it for Sanders, who is always so worthwhile, but see it for Landis--at her peak

A parody of early life of notorious delinquent made into criminalist Eugene-François Vidocq (played magnifically by George Sanders) since your poor birthday at jail until his teenagers years as genuine scoundrel guy, actually it portraits an untrue version, the cunning Douglas Sirk made a unusual approaching flirting with humoresque and cynical dialogues between Vidocq and his old sidekick Emile Vernet (Akim Tamiroff) coming from a family of long sheet of criminal background in France at 18/19Th century.

Reaching at adult age he supposedly chanced your real name several times at last at cemetery in beholding an aristocratic one buried there Baron François Vidocq whom he took his final name to Eugene-François Vidocq as he made famous henceforth aiming for to apply his last profitable robbery of valuable jewels from Marquise De Pierremont (Alma Kruger) where is invited to stay a while at your home, meanwhile on the way randomly he meets her gorgeous granddaughter Therese (Signe Hasso) who seems on Vidocq upmost similitude with painting of Saint George at local church, as the matter of fact he posed by the painter some years before whereof Emile portraited the dragon.

Upon this unexpected instance Vidocq starts postponed the early agreement with the bleak Emile, now figures out a new assignment at local bank whereby would yield millions instead meager thousand of jewels, stolen and afterwards delivering the stealing stuff like an expert detective Vidocq gets the position of Prefect of Police, post held by the clumsy Richet (Gene Lockhart) who is laid off by inability, turns out that Richet's wife Loretta (Caroline Landis) has an old account to settle with Vidocq who stolen her jewelled garter and heart as well, a hard times coming next for the villains hereinafter.

Fantastic well-structured storyline, well-crafted screenplay, philosophical dialogues spoken by the classy George Sanders, told by a mild mischief by many characters, including the old aristocratic Marquise de Pierremont, also the countless scoundrel Emile's mob-family, in fact a priceless movie that pleased you in every single sequence, too underrated!!

Thanks for reading.

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First watch: 2024 / How many: 1 / Source: DVD / Rating: 8.5.

As a Douglas Sirk fan, I must say this was one dreary exercise with hardly a single moment of sparkle in the entire film. Sanders delivers his witticisms as if he were mumbling the rosary. Moreover, he is unbelievable as a romantic dashing thief. I have never seen an actor give a flatter performance. Yet Sanders in bit parts and supporting roles was always a standout. It's hard to believe that Sirk would later direct masterpieces such as the color version of "Imitation of Life," as visually and thematically sophisticated film as Hollywood ever produced.

I was already a fan of George Sanders - but this film really gives him the witty language that he can spin under his breath better than any actor in movies. The story itself is far more interesting in its twists and turns than expected. Listen carefully - and you hear real style and imagination.

A baby born in a Paris jail, twenty-something adult criminal George Sanders (as Eugene François Vidocq) escapes from a prison with his portly cell-mate Akim Tamiroff (as Emile Vernet). True to form, Mr. Sanders becomes a debonair jewel thief and elegant dresser. Remember, foppish powdered wigs are the height of fashion. Sanders spends time romancing scantily-clad singer-dancer Carole Landis (as Loretta) and love-struck heiress Signe Hasso (as Therese). The former lights up the screen in a fiery shadow dance and the latter likes to swim with her girlfriends in their undergarments...

Sanders rises in Parisian society and is effective in some later parts of this overly-mannered, comic-laced crime adventure. However, the much admired character actor is not very engaging through most of the running time. Sanders is miscast as the swashbuckling French rogue. His neatly trimmed, bored, and suave British demeanor simply doesn't fit the part. Some strengths are director Douglas Sirk artfully setting up some scenes, the cute "little sister" performance essayed by Jo Ann Marlowe (as Mimi), and the choreographed acting of "Satan" the pet monkey. In the end, the monkey wins.

**** A Scandal in Paris (7/19/1946) Douglas Sirk ~ George Sanders, Signe Hasso, Akim Tamiroff, Carole Landis

Eugène François Vidocq was a VERY peculiar person. Up until 1810, he'd been a career criminal. Then, he turned snitch and began working with the police. None of this is extraordinary. However, eventually, he was appointed Chief of the new Sûreté Nationale (a very famous French police force) as well as becoming the first private detective! Along the way, he became involved in all sorts of intrigues, was briefly jailed and had a few marriages! All in all, he had an amazing life--one that easily could have made an excellent movie. Unfortunately, "A Scandal in Paris" does what many Hollywood films have done over the years---it ignores the facts and mostly fictionalizes his life! And, believe it or not, the fictionalized life is far less interesting!! In fact, the film seemed, at best, ordinary despite starring George Sanders. It looked nice and wasn't terrible....but should have been so much better.

How many "Vidocq" versions are there ? Probably more than you'd want to see.The last one was released a couple of years ago (feat Depardieu) and was a commercial and artistic flop.French versions galore are up for grabs including a miniseries in the sixties.

This American version of the thief-turned -cop is a different matter cause it is probably as far as the real life character as it can be.George Sanders' suave portrayal is actually close to Arsene Lupin the French gentleman-burglar invented by Maurice Leblanc.After all Detlef Sierck (Douglas Sirk) was European .Aunt Ernestine is some kind of equivalent of Lupin's old nanny Victoire.The parallel with Saint George and the dragon is a good idea ,when a man has actually to fight against himself on the way to redemption.

The film is highly praised in Vidocq's native France:Jacques Lourcelles writes that ,"lost in Hollywood ,Sirk is at home again in an old tale of good old Europa.

I must confess I find "scandal in Paris" a bit cold and sometimes dull and I like Sirk best in his "Melodrames Flamboyants".

This is a story about a real-life criminal turned private detective character - Eugéne Vidocq – set in C18th and C19th France. George Sanders plays the character but unfortunately, things are rushed as we skip forwards and Sanders sleepwalks through the film in a lacklustre manner. We also mistakenly get two comedy characters who are given significant roles – Akim Tamiroff (Emile) as murderous sidekick and loyal admirer of Sanders carrying out duties such as dressing his buddy and generally admiring him, and former chief of police Gene Lockhart who is inexcusably meant to lend yet more comedy to proceedings. Add to that a completely wet fish love interest in the form of Signe Hasso (Therese) and the film is not stacking up well.

The best in the cast by a mile is gold-digger showgirl Carole Landis (Loretta) and she boosts the watchability single-handedly. Unfortunately, she is not in the film long enough. Given there is quite a slight storyline to the film, her moments are all memorable whether it be her singing performance (the best moment of the film) or her dialogue delivery and acting gestures which provide the only moments of true comedy.

The makers of the film should have made this story more true to life and informed the audience more about this Vidocq character. I have no doubt it would have been a far more interesting story. He has a fantastic legacy and very engaging life story if you read up about him.

From the title, I suspect the movie was marketed as a peek at those notoriously naughty French and their customs. After all, the year is 1946 and the coldly restrictive Production Code is in force in Hollywood. So audiences have to find titillation where they can and producers have to work in risqué spots as best they can. Here, the apparently nude swim (which really isn't), along with the occasionally revealing and shapely Carol Landis, does provide some visual stimulation. However, it's the script that provides the main innuendo, as other reviewers point out. The trouble is that much of that innuendo is pretty sophisticated and flies by too quickly to be savored. Seems to me, the script may have misjudged the distance between the European movie makers and thrill-seeking American audiences. All in all, I'd be curious to know how the average viewer of the day responded to this exercise in continental style and wit.

To me, the movie never really gels. On one dramatic end is Sanders playing it pretty straight, while on the other, is Lockhart clowning it up as a police official, no less. And in between are various shades of seriousness and tongue-in-cheek, such that the movie fails to establish a defining mood. Then too, the severity of the showdown at film's end strikes me as badly out of sync with the lighter parts. Add to that thinly disguised cardboard sets, an unusually dour ingénue (Signe Hasso), and the result is a kind of mish-mash that only occasionally works. Too bad the utterly charming whimsy of the final 30 seconds is not replicated by the feature itself. Still and all, no movie that sticks witty aphorisms onto the sardonic tongue of the incomparable George Sanders can be ignored.

Didn't care for "A Scandal In Paris", but I love to hear George Sanders talk. It is a supercilious voice that reeks of upper class snobbery but so soothing to the ear. And here it is, as he has the leading role and is seldom off screen. You can almost hear him purring to Anne Baxter in "All About Eve"; "You're not Eve Harrington, you're Gertrude Schlussinsky". Terrific stuff.

But "A Scandal In Paris" is a flawed picture and lacks verisimilitude, maybe because it's stagebound without a single outdoor scene and at times seems almost like an animated feature - claymation, or something. The phony backdrops are no help in this regard. The star gets great help from Gene Lockhart and Akim Tamiroff, especially Lockhart. This also may be the best role Carole Landis ever had, and she is gorgeous here.

All the foregoing accounts for my rating, because as I said, I didn't care for it.