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Monsieur Verdoux

1947

Charles Chaplin

Charles Chaplin, Martha Raye, Marilyn Nash, Isobel Elsom ...

7.9

7,402

Comedy Monsieur Verdoux is a bluebeard who marries women and kills them after the marriage to get the money he needs for his family. But with two ladies he has bad luck.

	Author	Review
United States	Bosley Crowther The New York Times	"An engrossingly wry and paradoxical film, screamingly funny in places, sentimental in others, sometimes slow and devoted to an unusually serious and sobering argument."	POS
United States	Dave Kehr Chicago Reader	"A film of serene elegance and sharp teeth (...) Masterpiece (...) [It] has a Brechtian toughness and wit, but the style is soft, seductive, elegiac."	POS
United Kingdom	Derek Malcolm The Guardian	"His sarcastic and ironic gravity was astonishing for the time (...) Though not characteristic, it leaves an indelible memory."	POS
United States	Josh Vasquez Slant	"The film’s quite hilarious sense of humor (...) works in fluid conjunction with Chaplin’s bleaker ruminations, and both are still quite contemporary and relevant (…) Rating: ★★★★ (out of 4)"	POS
United States	Dennis Lim Los Angeles Times	"Charlie Chaplin completed a remarkable transformation (...) An icy, elegant black comedy, the film builds to a lengthy philosophical indictment of the sins of modern capitalism"	POS
United States	Noel Murray AV Club	"An assured combination of suspense and pitch-black comedy (...) The comedic core of the movie lies in the scenes between Chaplin and Martha Raye"	POS
United Kingdom	Empire	"It's dark and clever rather than funny ha-ha although there are some splendidly choreographed gags (...) Chaplin's most fully-conceived talkie (…) Rating: ★★★★ (out of 5)"	POS
United Kingdom	Time Out	"Now it shapes up as Chaplin's most startling, most invigorating movie: its icy temperature is positively bracing after the hot syrup of his earlier work"	POS
United States	Richard Brody The New Yorker	"Chaplin pushes the hypocrisy of manners to its ultimate extreme (...) The bigger and worldlier his subject, the more inescapably personal his approach to it became."	POS

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