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Monsieur Verdoux

Monsieur Verdoux

Comedy · Crime · Drama · 1947

The film is about an unemployed banker, Henri Verdoux, and his sociopathic methods of attaining income. While being both loyal and competent in his work, Verdoux has been laid-off. To make money for his wife and child, he marries wealthy widows and then murders them. His crime spree eventually works against him when two particular widows break his normal routine.

Movie details

Monsieur Verdoux

“Chaplin changes! Can you?”

1947 Comedy · Crime · Drama 2h 4m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

The film is about an unemployed banker, Henri Verdoux, and his sociopathic methods of attaining income. While being both loyal and competent in his work, Verdoux has been laid-off. To make money for his wife and child, he marries wealthy widows and then murders them. His crime spree eventually works against him when two particular widows break his normal routine.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Monsieur Verdoux?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Charlie Chaplin

Written by

Charlie Chaplin · Orson Welles

Charlie Chaplin

Charlie Chaplin

Henri Verdoux

Mady Correll

Mady Correll

Mona Verdoux

Allison Roddan

Allison Roddan

Peter Verdoux

Robert Lewis

Robert Lewis

Maurice Bottello

Audrey Betz

Audrey Betz

Martha Bottello

Martha Raye

Martha Raye

Annabella Bonheur

Ada May

Ada May

Annette, Annabella's maid

Court is in session

Put Monsieur Verdoux on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Form is the argument.”

Every composed frame and deliberate cut is evidence that control can be thrilling in its own right.

The prosecution The Popcorn Loyalist

“Technique in search of a pulse.”

Immaculate construction is still construction. The film may be too busy proving its craft to feel alive.