[.ca] Scandal In Paris

From Amazon.com:
Suave, sardonic George Sanders eases through one of his most perfectly suited roles in this sly Douglas Sirk comedy, based on the (highly questionable) remembrances of real-life French rascal turned respected lawman and author Vidoq. Sanders plays his aristocratic thief with a blasé attitude and bemused smile. Born in a jail (his home for most of his life, as it turns out), he cons his way up from the gutter to high society. He rechristens himself with a name purloined from a fancy graveyard headstone and lands a position as the Paris chief of police after an elaborate display of Sherlock Holmesian deduction uncovers a cache of jewels stolen from his patron's house (jewels he stole himself, of course). It puts him in the perfect place to plot his biggest caper ever: cleaning out the Bank of Paris. Akim Tamiroff plays his croaking sidekick (a frog to Sanders's prince of crime, or perhaps more accurately a dragon to the sneaky St. George), and Gene Lockhart is his nemesis, the disgraced former chief of police who emerges as less a figure of fun than a sad clown. Sirk shot this little gem on a low budget almost belied by the tiny but richly realized sets, beautifully designed settings that create a Paris in miniature. His Continental wit and Sanders's droll delivery and impeccable manners add a knowing wink to the production. --Sean Axmaker

A real gem:
This little known and seemingly underappreciated movie is actually a sophisticated piece of movie art. I had expected a journeyman effort from Douglas Sirk, but found instead a master working at the peak of his powers. The subject matter seems light on the surface, but probes questions of identity and personal responsibility. The slipperiness of the character of George Sanders' Vidoq is a foil to others' distorted views of themselves. Many of Sirk's tropes are present, including an abundance of mirrors, particularly in the harrowing climactic scene, and some fantastic use of shadow. The tavern dance scene by Carole Landis is worth the price of admission. To top it all off, the dialogue is worthy of Billy Wilder, and the photography is superb. George Sanders' performance is second only to Addison DeWitt, and Carole Landis is luminous.