Section des disparus (1956) User Reviews (6)

Pierre Chenal adapting David Goodis in Argentina

[eric-baril · 7/10 · 29 January 2014]

Anyone who's interested in french film noir knows Pierre Chenal filmography in crime movie : "L'Homme Sans Nom", "L'Affaire Lafarge", "La Maison Du Maltais" and of course "Le Dernier Tournant" as an authentic pre film noir from 1939 (the first version of "Postman Always Rings Twice" with fantastic Michel Simon and sensual Corinne Luchaire, cinematography by genius Christian Matras).

From 1943 to 1956, Pierre Chenal directed 8 movies in Argentina. He made a short come back to France in 1946 to direct his masterpiece, "La Foire Aux Chimères", a blend of film noir and melodrama with a complex and unreal atmosphere. And shamefully forgotten for forty years.

"Section Des Disparus" is his last Argentin movie. And it is a swell surprise : a film noir adapted from David Goodis "Of Missing Persons". Young Maurice Ronet wants to quit his elder wife (frightening Inda Ledesma, very close to Joan Crawford) for a gorgeous dancer (beautiful Nicole Maurey). Lot of twists and a superb shadowy cinematography for this unknown noir gem that really deserves restoration to appreciate the disturbing Inda Ledesma.

Love and hate triangle in Argentina

[esman12 · 6/10 · 20 February 2023]

A Franco-Argentine production means you get the best of both worlds : French director Pierre Chenal, actors Maurice Ronet and Nicole Maurey finding themselves in 1950s Argentina supported by cinematographer Américo Hoss and actress Inda Ledesma. In this underrated South American B noir, a wealthy woman starts flirting with insanity after the tragic death of her husband who openly had an affair with a younger and cuter cabaret dancer before he died. Jealousy and despair will soon lead the characters to chaos. Although I would not list it among the best film noirs I saw, "Sections des disparus" is entertaining and remains a great example of what a Franco-Argentine production looks like.

Snappy Argentinian noir

[gridoon2024 · 6/10 · 2 August 2021]

Heated love-triangle tale which keeps you wondering who has the upper hand at each turn of the plot. Fun to watch a young Maurice Ronet in a Spanish-language movie (dubbed? I couldn't tell), though you kind of have to ask yourself why he would cheat on his wife, who is fiery and passionate and hot. The happy ending is a little disappointing, though. **1/2 out of 4.

My hubby is missing.

[dbdumonteil · 4/10 · 15 December 2008]

"La Foire Aux Chimères" was Pierre Chenal's peak:that movie overshadows every other work of the director as a complete and perfect achievement.

It seemed that Pierre Chenal couldn't do any more great stuff.He worked in South America before returning in his homeland where he produced some fairly interesting movies ,particularly the funny " L'Assassin Connait La Musique" , the curious "Jeux Dangereux".

Unfortunately ,"Section Des Disparus" ,a France/Argentina co- production suffers for a very derivative screenplay ,some bizarre Latin parboiled cross between a lite "double indemnity" (the scene of the train) and Stahl's "Leave her to heaven" (the final scenes).An actress who looks like a Joan Crawford ersatz ,and Maurice Ronet who was about to become one of the best actors of his generation:greater glories would follow ,such as "Ascenceur Pour L'Echafaud" ,"Plein Soleil" (Purple noon)or "Celui Qui Doit Mourir" .

South American Noir

[rob-82-302763 · 8/10 · 16 June 2011]

Rare, obscure film version of David Goodis' novel has lawyer Juan Milford (Maurice Ronet) wanting to run away with exotic dancer Diana Lander. Unfortunately, he's also a kept, married man by wealthy older woman Amanda Merlino de Milford who promises to provide evidence of his criminal past to the police if he ever leaves her. One evening, when Juan is drinking at a bar, a drunk, panhandles some money for train fare and asks him for a ride to the station. The next morning, a body is found on the railroad tracks, completely destroyed beyond recognition but with a suicide note signed by Juan. Which poses the question - Can a dead man be accused of murdering his live wife? So begins French director Pierre Chenal's (LE DERNIER TOURNANT) bizarre Latin parboiled cross between DOUBLE IMDEMNITY and LEAVE HER TO HEAVEN with a lead actress who's a Latin dead ringer for Joan Crawford in a truly psychopathic performance. And like most of Goodis' stories (THE BURGLAR, DARK PASSAGE, SHOOT THE PIANO PLAYER, NIGHTFALL, STREET OF NO RETURN) the initial crime is just the starting point for multiple twists and turns in the plot. External filming on location in Buenos Aries.

The Dark Mirror.

[morrison-dylan-fan · 8/10 · 7 November 2019]

Recently watching the superb Le dernier tournant (1939-also reviewed) again recently,I decided to check the credits of film maker Pierre Chenal. Having last month taking part in a cinema of Latin America viewing challenge on ICM, I was thrilled to find that Chenal had made a Noir in Argentina, which led to me picking up the mirror.

View on the film:

Finishing a run in the country he had fled to during the Occupation with a opening embrace between Juan and exotic dancer Lander, co-writer/(with Agustin Cuzzani and Domingo Di Nubila) director Pierre Chenal gives a farewell bear hug to Argentina, by closely working with cinematographer Americo Hoss to reflect a Film Noir atmosphere. Dancing Juan between Lander and Mendy, Chenal nicely crisps the Melodrama up with stylish high-end camera angles above the lavish Milford household, which Chenal cracks with a ferocious scratch across the screen.

Originating as a un- produced script about the LA Missing Persons Bureau, led by Captain Paul Ballard trying to calm Myra Nichols suspicions her "dead" hubby is alive, which got turned into a novel, the writers wisely spend their adaptation of David Goodis's novel out of the office until the very end, in exchange to expand on the "Myra Nichols" suspicions, flame-grilled in viper snaps between Lander and Myra (here called Mendy.)

Making Juan disappear as a entrance for Ballard, the writers pen a Noir affair with a ill-judged Film Gris ending, made up for via each step closer Ballard (here called Uribe) takes to finding Juan, the more he uncovers of Juan's lovers toxic relationship.

Drawing the lines of lust, Maurice Ronet gives a great, rugged Noir loner turn as Juan, whilst alluring Inda Ledesma uncoils Mendy's fury around cheating Juan. Catching Juan in her web, beautiful Nicole Maurey gives a sizzling Femme Fatale turn as Lander, thanks to Maurey reflecting Lander's lust for Juan with the venom she and Mendy drip onto the mirror.