Jerry McKibbon is a tough, no nonsense reporter, mentoring special prosecutor John Conroy in routing out corrupt officials in the city, which may even include Conroy's own police detective father as a suspect.
During the 1850s, crooked lumber syndicate man Beauvais tries to take over the local mill while Sequin, the sensual owner of a gambling riverboat, tries to control the heart of Mississippi lumberjack Dan Corrigan.
Pepe Le Moko leads a gang of jewel thieves in the Casbah of Algiers, where he has exiled himself to escape imprisonment in his native France. Inez, his girl friend, is infuriated when Pepe flirts with Gaby, a French visitor, but Pepe tells her to mind her own business. Detective Slimane is trying to lure Pepe out of the Casbah so he can be jailed. Against Slimane's advice, Police Chief Louvain capture Pepe in a dragnet, but his followers free him. Inez realizes that Pepe has fallen in love with Gaby and intends to follow her to Europe. Slimane knows the same and uses her as the bait to lure Pepe out of the Casbah.Written by
Les Adams <firstname.lastname@example.org>
Successful remake of Duvivier's "Pepé le Moko" but not quite striking home
It is not a bad remake of Julien Duvivier's classic and incomparable "Pepé le Moko" with Jean Gabin from 1937 with even some advantages to the French original, chiefly Marta Toren as the beautiful lady from abroad and home and Peter Lorre as the police inspector in one of his most suavely amiable and abominable performances; but the songs are quite good also and Tony Martin, although inferior to Jean Gabin, is convincing and charming enough. Another asset is Yvonne de Carlo as Inez, and like in "Pepé le Moko" you wonder why he doesn't prefer her to the alien lady as a much more rational and sensible option; but it's in his nature to choose challenge to comfort.
There is very little to add, if you have seen "Pepé le Moko" you have seen it all, the drama is exactly the same here with its regrettable and overwhelmingly sad finale, but Julien Duvivier makes it both more realistic, more poetic and more overwhelming. What Tony Martin lacks is the tragic touch of Jean Gabin with his poignant stigma.
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