CONTAINS SPOILERS 

Gaston Leroux's famous murder mystery,his most celebrated novel after "phantom of the opera" has often been filmed from the silent era to the present (the last one was made in 2003).

This is the second talkie based on the famous case of murder in an enclosed place;it's definitely inferior to Marcel Lherbier's (1932).You should remember that this novel is actually the first part of a story in two volumes,the second being "Le Parfum de La Dame En Noir" .Both Lherbier and Podalydès filmed the two stories which spawned two films.

Henri Aisner did not(It's Louis Daquin who did the same year)In the two other versions,there are hints at the "scent of the lady in black" and Both movies end on a mysterious scene .Aisner's movie ,which is very short is rather undistinguished.The choice of Reggiani -an actor I admire very much though- for Rouletabille is eminently questionable ;he is too old for the part (27) .Roland Toutain had plenty of go in Lherbier's version ,and Reggiani ,spending a lot of time reading Comtesse de Segur' s "les Malheurs de Sophie" -the connection escapes me,I fear-,shines in one scene only:his "arithmetic lesson" This adaptation was doomed from the start : the Rouletabille/Mathilde/Larsan relationship is essential to the plot :the famous sentence about the vicarage and the garden (from which a strange poetry emanates) does not make any sense in THAT context.Mathilde Stangerson (Helene Perdrière) loses all her mystery .Hence the necessity to kill the criminal at the end of the story.But,as there's Daquin's follow-up,is he really dead?

The film is poorly directed and the two great scenes (the crime in the bedroom ;the corridor scene -just compare to that of Lherbier-) of the book are not even exciting .

Lherbier did the definitive version,but I would also recommend the made-for-TV film made in 1965 starring Claude Brasseur as Rouletabille ,one of the best of the sixties French TV.

French-language cinema, whether in France, Québec, or other Francophone regions, explores cultural identity, social change, and the tension between the individual and society. French cinema is not only celebrated for its intellectual experimentation and auteur traditions, but also its success in mainstream comedy, romance, and commercial entertainment. In Québec, films often focus on questions of language, belonging, and community within a distinct cultural landscape.

Jean-Pierre Léaud in The 400 Blows (1959)

The crime genre features criminal activities, investigations, law enforcement, crimes, and the pursuit of justice. Crime stories often revolve around the planning, execution, and consequences of criminal acts, as well as the efforts to solve and prevent such acts. They explore various aspects of criminal behavior, motives, and the moral dilemmas faced by both perpetrators and those seeking to uphold the law.

James Gandolfini, Edie Falco, Sharon Angela, Max Casella, Dan Grimaldi, Joe Perrino, Donna Pescow, Jamie Lynn Sigler, Tony Sirico, and Michael Drayer in The Sopranos (1999)

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The mystery genre features the investigation and solving of a puzzle, typically a crime or an enigmatic event. Mysteries are known for their suspenseful narratives, intricate plots, and the challenge they present to readers or viewers to piece together clues and solve the central mystery alongside the characters.

Jack Nicholson, Faye Dunaway, and Kelvin Harrison Jr. in Chinatown (1974)

A professor's daughter is attacked in her sealed bedroom.Evidence points to her fiance but a cub journalist finds the surprising true culprit.

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