This film made Simone Signoret an important actress, and it is a deeply depressing film set in Antwerp mainly in a bar where prostitutes are available. Signoret is one of them, and the film concentrates on her life there and her love for an Italian captain of a ship that is in the harbour. Her pimp does not like this and this is when things turn nasty. The ending is especially so and the film ends on a bleak note. Some place it in the genre of French Poetic Realism which usually means murky sets, sullen faces and criminality. Usually these films involved Jean Gabin and personally I find them drab and intensely tedious. This genre fortunately faded out with the arrival of the Nouvelle Vague, another nebulous French definition for a disparate set of directors. But to return to this film. Yves Allegret was Signoret's husband at the time, and with this film and the appallingly depressing ' Maneges ' made her a very successful actor. I find his direction in both films to be dour, solid and worst of all boring. Both films seemed to set a pattern in Signoret's career. Despite her beauty I find her a passive actor, open to despair which sourly contorted her features. Only in ' Casque D'Or ' ( Golden Marie ) directed by Jacques Becker does she consistently glow, but again the ending has to be fatalistic and down beat. This repetition of fateful endings continued with ' The Witches of Salem ', ' Therese Raquin ' and ' Room at the Top ' made in the UK. Happiness on film was always brief for her and to repeat the word passive she follows the repetition as if it is a cinematic necessity. I find this sad and all of the above films should be avoided by the depressed. To lighten this darkness I must mention how superb she was in Ophuls ' La Ronde ' beginning and ending it with wit and brave cynicism. I believe others when they say she was a great actor, and no doubt she was but I have rarely responded to her. Only in a much later film ' Ship of Fools ' did I get a glimpse of her magic, but there again she was destined for cinematic defeat. I have forgotten ' The Fiends ' made by Clouzot and for me it is the apotheosis of her tendency to gravitate towards fatality. In ' Dedee d'Anvers ' she is beginning the route, and I have avoided it for years. Taking the plunge I surfaced longing to return to Jacques Demy and Eric Rohmer and their bitter sweet tales. As a woman Signoret held high principles and I respect her enormously, who in life I am sure never accepted defeat. I just wish she had taken a less dark path on film.
Review of Dédée d'Anvers
