This is Belle Époque Paris, which can be a dangerous world where there are few second chances, and none for lovers. Innocence seems to have been long ago wrung out of Marie (Simone Signoret). She's a prostitute and the bought woman of Roland, a handsome, arrogant member of Felix Leca's gang, a group of bullyboy thieves, pimps and murderers. Leca (Claude Dauphin) combines slyness, danger and oiliness in equal measure. Leca wants Marie, and on his terms. She's beautiful in a coarse and knowing way, with a swagger and a hand on her hip, a gangster's girl who takes being slapped as part of the life. When Marie meets Georges Manda, "Jo" (Serge Reggiani), a man who had been part of the life, had served time and now is a carpenter, everything changes. In the dance at the start of the movie, with the gangsters in their tight suits, their women in flouncy gowns and ribbons, cheap waltzes playing, beer and wine on the tables, Marie sees Jo, likes him and flirts. For Jo, he can't take his eyes off her. The music plays on, they dance. The next day Marie sets out to see Jo at his carpenter's shop. Her feelings deepen in some inexplicable way. Marie regains a measure of innocence with Jo and we watch this happen. Jo will do anything to protect her. Marie will do anything to protect Jo. Leca, always there, is determined to have his way.
What first appears to be a turn-of-the-century tale about gangsters and their women turns seamlessly and with foreboding into a hopeless and emotional love story. When we last see Marie I started to choke up. Does Casque d'Or, the story of Marie and Jo, reach the level of tragedy? Probably not, but it will do.
Jacques Becker, the director, didn't make many movies. He was 54 when he died. Le Trou is a tough, nerve-wracking and ironic tale of several prisoners who attempt to dig their way to freedom. Touchez Pas au Grisbi is a gangster film, but even more a view of what middle age will do to us, even gangsters. You won't know whether to smile or just shake your head when Jean Gabin has to reach for his glasses to read a phone number.
It also is somehow pleasantly satisfying to recall Signoret and Reggiani four years earlier in the opening and closing sequences of La Ronde, she the prostitute who loses her heart and he the soldier who quickly forgets her.