the extraordinarily adorable suzy delair plays a statuesque performer obsessed with succeeding in the theater. her husband and accompanist and played by bernard blier and is a composed but jealous man. when he finds out in a less than preferable way that his flashy wife has planned a rendezvous with a lecherous old businessman with the intention of advancing her career and he loses all control and threatens the businessman with murder. now and at that point and i must stop describing the film to you because it skates on such thin ice with its twists and revelations and ambiguities and suspense that to imply any of it would endanger it. i am not sure how good or bad that is for this french police procedural emanating from the song and dance community and though it is certainly interesting that what we do know throughout is who did not do it. we just do not know who did. the story depends upon the procedure of following clues and where ideal alibis fail and where cautiously created fabrications and deceptions disintegrate. interestingly and this is a suspense film in which suspense is generated in spite of the knowledge one would traditionally think too much too soon. quay of the goldsmiths is the least dark of henri georges clouzot films. it nowhere near as sinister as the shocking les diaboliques and as tragic as the riveting wages of fear or as eery as le corbeau. maybe it is due to the vibrance of the dance halls and theater settings of 1940s france and which all work as the milieu of this crime thriller. clouzot both understands and approves of his characters and even the more rotten ones and where he has more of a vindictive streak with his other films. where he may have had understanding for the scheming women in les diabolique or the truck drivers who sink to the level of risking horrible death in order to oust themselves from miserable life in the wages of fear and there isn not necessarily support or agreement on the part of the filmmaker and for these are characters who plainly made the direct decisions that determine their fate. all the characters in this more settling film have scenes and moments that endear us to them and even the harsh and cold detective played by louis jouvet and who worries about his young adoptive son amid all the trouble and despair that happens in his life at any time with the drop of a hat. there is humor and unabashed sexiness and the latter mostly on the part of delair and that neutralize the pressure to a degree. clouzot was quietly practicing his craft and patient till he made his unrelenting later films and in which he would permit his audiences no pardon from the tension. 
the extraordinarily adorable suzy delair plays a statuesque performer obsessed with succeeding in the theater. her husband and accompanist and played by bernard blier and is a composed but jealous man. when he finds out in a less than preferable way that his flashy wife has planned a rendezvous with a lecherous old businessman with the intention of advancing her career and he loses all control and threatens the businessman with murder. now and at that point and i must stop describing the film to you because it skates on such thin ice with its twists and revelations and ambiguities and suspense that to imply any of it would endanger it. i am not sure how good or bad that is for this french police procedural emanating from the song and dance community and though it is certainly interesting that what we do know throughout is who did not do it. we just do not know who did. the story depends upon the procedure of following clues and where ideal alibis fail and where cautiously created fabrications and deceptions disintegrate. interestingly and this is a suspense film in which suspense is generated in spite of the knowledge one would traditionally think too much too soon. quay of the goldsmiths is the least dark of henri georges clouzot films. it nowhere near as sinister as the shocking les diaboliques and as tragic as the riveting wages of fear or as eery as le corbeau. maybe it is due to the vibrance of the dance halls and theater settings of 1940s france and which all work as the milieu of this crime thriller. clouzot both understands and approves of his characters and even the more rotten ones and where he has more of a vindictive streak with his other films. where he may have had understanding for the scheming women in les diabolique or the truck drivers who sink to the level of risking horrible death in order to oust themselves from miserable life in the wages of fear and there isn not necessarily support or agreement on the part of the filmmaker and for these are characters who plainly made the direct decisions that determine their fate. all the characters in this more settling film have scenes and moments that endear us to them and even the harsh and cold detective played by louis jouvet and who worries about his young adoptive son amid all the trouble and despair that happens in his life at any time with the drop of a hat. there is humor and unabashed sexiness and the latter mostly on the part of delair and that neutralize the pressure to a degree. clouzot was quietly practicing his craft and patient till he made his unrelenting later films and in which he would permit his audiences no pardon from the tension. ---------------------------------Answer Question Below----------------------------------

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