by George Anastasia, Glen Macnow
Jean Gabin was already one of France's top leading men when he made this film. But the role of Pépé solidified his standing in the annals of his country's cinematic history.
Pépé le Moko is described as a foray into poetic realism and as the precursor to what became known as film noir. The movie works in large part because of Gabin, who portrays the gangster Pépé as a multidimensional character whose flaws are also his charms.
Humphrey Bogart gave off the same vibe as Rick in Casablanca (1942), a movie that in several ways echoed the exotic, inexplicable and fascinating world of French North Africa portrayed here.
Later French film stars like Yves Montand and Jean-Paul Belmondo dipped into the Gabin playbook in their portrayals of street-tough but sympathetic rogues whose love of life was matched only by their love of women.
The film's impact on cinema in both Europe and the United States should not be underestimated. It is considered one of the finest films from the early days of French cinema and a classic example of the gangster movie, no matter the country.
More than 70 years after Pépé le Moko's release, critics still can barely contain themselves when writing about it.
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