Henri-Georges Clouzot's film is quiet an example of the french transition cinema. A film between the realism of the postwar cinema and the full-of-magic and symbolism nouvelle vague. With some spots of the American classic films (but not imitating it) the director tales us a story about love, crime and the importance of points of view. We can find great actors too (Suzy Delair is impeccable).<br /><br />Is interesting too, how we can find aspects of this film nowadays. Quai des Orfèvres inheritance is palpable in Woody Allen tradition. Plunging a crime situation in a picturesque environment. The naive ending is also typical in Steven Spielberg's good-ending films. And finally I would like to point out, the deja voo sensation during the photography session between Jenny Lamour (Suzy Delair) and Dora Monier (Simone Renant) in which the first one confess that she thinks her husband is being unfaithful and exactly with the woman who is photographing her. That scene is exactly the one between Natalie Portman and Julia Roberts in Closer (Mike Nichols, 2004).