Beginning as a screenwriter in Berlin (though born in Galicia and self-identified as Viennese), Billy Wilder (1906-2002) fled to France upon Hitler's elevation to the chancellorship in 1933. In France without a work permit, what he wrote was not credited, with the exception of "Mauvaise Graine" (Bad Seed), which he undertook to direct in 1934. Like Fritz Lang between UFA and Hollywood (Liliom), Wilder directed only directed one movie in French, though nearly three decades later he directed another movie with a Paris setting, the mostly studio-shot Irma la Douce. (The French codirector of "Mauvaise Graine was Alexander Esway, none of whose other 17 movies I've ever heard of.)

Wilder was to show himself the master of many genres, including cinéma noir (Double Indemnity, Sunset Boulevard). Although "Mauvaise Graine" centers on a gang (of car thiefs and the garage where the stolen vehicles are repainted and provided with different license plate) and is not without some sense of doom, it is daylit and more a romantic comedy (a class-crossing one, like "Sabrina") than a noir or a ganster movie. It has a number of sight gags, mostly involving one of the thieves who is more adept at stealing vehicles than at driving them.

The title character, Henri Pasquier (Pierre Mingand) is the playboy son of a prominent Paris physician (Paul Escoffier). Fed up with Henri's idleness and spendthrift ways, Dr. Pasquier sells Henri's car. Henri loves mobility in general and showing off his car in particular. Besides, he has a date waiting on a bridge... so, he steals a car.

This theft is observed by a carload of men who chase Henri across Paris (always a delight for audiences). They then drive the car to a garage, where repainting begins immediately. Henri is told that car theft is the monopoly of this garage.

Helping the playful Jean-la-Cravate (Jean of the ties), played by Raymond Galle, Henri becomes Jean's partner and Jean de facto adopts Henri (who does not want to go home again). Jean's sister Jeannette (a not-yet glamorous (Danielle Darrieux) works for the gang as a decoy for rich men. Predictably Henri falls in love with Jeannette and she accompanies him when he is sent away to Marseilles (and the melodrama kicks in).

Jean has a compulsion to steal ties. He wants every tie that he sees and sometimes trades rather than steals ties, but has accumulated 315 in his closet. He is the most engaging character. Darrieux received top billing, but was uninspired and uninspiring (almost frumpy). Pasquier was adequate as a rebel against authority, whether paternal or paternalistic (the head of the operation).

The cars with which the movie are filled are at least as interesting as the characters, and the movie's drives around Paris, ca. 1933-34 are like a ride in a time machine. The movie also has a musical score by another refugee in transit between German and Hollywood, Franz Waxman. He could already write music to enhance chases.

"Some Like It Hot," it ain't—though it also has gangsters and love blossoming—, but the seeds of later Wilder movies can be discerned in this one (belying the film's title!).

The print used for the DVD shows its age. There are alarming flashes of white during the opening credits, but the rest of the movie—though far from standing comparison with Criterion's remasterings—is watchable.

The animated short included, "Joie De Vivre," is too scratchy for me to watch, however.

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This review is intended as a contribution to both to Wierdo-87's Billy Wilder centenary and Ifif1938's French find writeoffs.

I have epined about some other Wilder movies, mostly comedies he directed during the early 1960s. In chronological order of their making:

A Foreign Affair
One, Two, Three (my favorite)
Irma la Douce
Kiss Me, Stupid
The Fortune Cookie

and about a collection of suites from among Waxman's hundreds of film scores


Recommended:
Yes

Viewing Format: DVD