Le parfum de la dame en noir: Vintage shadows and some very fancy architecture

Is it worth your time?

If you like old-school French mysteries that favor atmosphere over actual logic, you’ll probably have a good time here. It’s for the folks who want to stare at gorgeous Art Deco houses and watch people act dramatic in period clothes. If you need a tight, fast-paced thriller, you’ll be bored to tears by the second act. 🎞️

Cinematic perspective: Exploring the visual vocabulary of Le parfum de la dame en noir (1931) through its definitive frames.

Honestly, the plot is a bit of a labyrinth. Sometimes I felt like the movie itself forgot who was hiding in which room.

Cinematic perspective: Exploring the visual vocabulary of Le parfum de la dame en noir (1931) through its definitive frames.

The whole thing feels like a fever dream set in a villa that costs more money than I’ll ever see. It reminded me a bit of the weird, disjointed energy in I morti ritornano, though this one has way better wallpaper.

Cinematic perspective: Exploring the visual vocabulary of Le parfum de la dame en noir (1931) through its definitive frames.

The vibe is everything

The cinematography is just drenched in shadows. There’s a specific sequence where someone is walking down a hallway, and the lighting is so heavy it feels like the walls are closing in. It’s effective, even if the guy playing Rouletabille looks like he’d rather be anywhere else.

Cinematic perspective: Exploring the visual vocabulary of Le parfum de la dame en noir (1931) through its definitive frames.

The villa is basically a character on its own. It’s perched right above the water, and every time the camera pans across the exterior, I stopped caring about the actual mystery. Who needs a coherent motive when the geometry of the staircase is that cool?

Cinematic perspective: Exploring the visual vocabulary of Le parfum de la dame en noir (1931) through its definitive frames.

One reaction shot of the lady in the villa lasts for an eternity. I’m pretty sure the actress forgot the cameras were still rolling. It’s almost funny.

The dialogue is... well, it’s theatrical. People don’t talk; they deliver proclamations. It’s got that stilted rhythm you find in older films, like a stage play that someone decided to drag outside for a bit of sunshine.

It’s nowhere near as focused as something like Against All Odds, but that’s fine. It’s not trying to be a masterpiece. It’s trying to be a mood.

Odd bits and pieces

• The outfits. Seriously, the hats alone deserve their own credit.
• The sound editing is a little crunchy in places. You can hear the background hiss like it's fighting with the dialogue.
• I think a vase in the background of the living room moves three times without anyone touching it. Maybe it’s a ghost? Or just poor continuity.

I left the movie feeling like I’d just woken up from a nap in a library. It’s not a film that stays with you, but it’s a nice way to kill ninety minutes if you’re into the aesthetic. Just don't go looking for deep psychological insights. You won't find them here. 🧐