By Libby Stefanich

Douglus Sirk’s whimsical 1946 film A Scandal in Paris combines comedic and romantic elements. The film is based on the real-life strategic yet charming criminal Eugene Francois Vidocq, who falls in love with the morally changing Therese De Pierremont. The film’s theme of good versus evil exemplifies the great power of overcoming change for the better. For example, he eventually becomes a detective as he learns to recognize the good in himself and his surroundings. Vidocq often finds himself in a state of romantic, political, and moral dissonance when navigating his journey as a detective.

The film’s intertextuality of historical and religious symbols is prominent, including the dragon and the saint. In the beginning of the film, an artist was painting a mural of Vidocq and his sidekick, Emile, as the saint and the dragon. This painting alludes to the idea that Vidocq is not evil, but there is a certain dynamic between the two that will turn into a betrayal on Emile’s end. When Richet disguises himself as a man carrying a birdcage while snooping on Loretta, he becomes a symbol. The bird cage and Loretta mirror each other, both ensnared and capable of performing to attract attention. The language interactions throughout the film are very theatrical. Each character is very blunt and witty to each other; facial expressions, dialect, and movement are very similar to stage productions.

Loretta’s common theme is perfection in the male gaze. The cinematography of her singing is interesting because the frame heavily focuses in on her: when she moves, it tracks her; in long shots, she is still in center; when she burns the sheet, it’s a slow push in on her. The lighting remains consistently bright, yet her shadow stands out. Loretta’s shadow enhances her seductive figure and movement; it is nearly ballerina-like. Vidocq values Loretta’s pursuit of perfection and hyperfemininity in the dance style. Because it is small, the setting enhances the common themes, but the main level surrounding the stage is only filled with men who can physically engage with her, whereas the women are on the balconies watching from afar. Her tight black yet sparkly costume represents her personality in this film, which completely contrasts with Therese’s. For instance, Loretta is lower-class, but in this scene her outfit looks expensive; her costume shows a facade of her personality, when in reality she wants more than what she has, whether that is love or fortune.

Douglas Sirk’s intentions for the film were to use historical and religious sources to add a fictional yet entertaining twist to the story. The film’s comedic and romantic elements make it easier for audiences to appreciate and understand the theme compared to a dramatic historical piece. For instance, romantic comedies keep viewers entertained, even if they have conventions of crime and religion. The critics’ impression of the film was similar to his previous works, yet it still left a lasting impression on audiences due to its exceptional acting, costumes, sets, and storytelling. Every other melodrama film shares similarities with this one, adhering to the typical story conventions and themes of sex, forgiveness, class, and, of course, good versus evil. The film uses similar lighting techniques and character archetypes.

A Scandal in Paris (nr) dir. Douglas Sirk (1946); 100 mins.