We Are All Murderers (Nous sommes tous des assassins)

We Are All Murderers (Nous sommes tous des assassins)

Movie · 1952 · 15 people

The French-Italian film Nous sommes tous des assassins, known internationally as We Are All Murderers (Siamo tutti assassini in Italian), dates from 1952. Sources call it a crime drama, a courtroom film and a legal drama. It is in French and runs 110 minutes. Director André Cayatte was known for work on legal subjects, and here he builds a cinematic indictment that argues for abolishing the death penalty in France. The film competed at the 1952 Cannes Film Festival, the fifth edition, and took the Special Jury Prize.

At the centre is René, a young man from the slums whom the French Resistance trained during the Second World War to fight the Germans. When the war ends he does not stop killing, because it is all he knows. The story gathers around his trial and the death sentence he faces. Marcel Mouloudji, Raymond Pellegrin and Claude Laydu star, and Antoine Balpêtré, André Valmy, Alexandre Rignault, Anouk Ferjac and André Reybaz are also named in the cast.

Cayatte wrote the screenplay with Charles Spaak. Shooting took place at the Boulogne Studios in Paris, and the sets were designed by art director Jacques Colombier.

DirectorAndré Cayatte

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Guy Decomble Guy Decomble Actor · died at 53 An Inspector Henri Crémieux Henri Crémieux Actor · died at 83 Bauchet's Lawyer Marcel Mouloudji Raymond Pellegrin Alexandre Rignault André Reybaz André Valmy Anouk Ferjac Antoine Balpêtré Bernard Musson Charles Bouillaud Charles Lemontier Claude Laydu Daniel Mendaille Doudou Babet

Through different eyes

History & Society Lens Asks about the period, the social background and what the work reflects.

Cayatte's film is an early and bold intervention by cinema in the debate over the death penalty. René's story takes the problem beyond the individual: a young man from the slums who was taught to kill in wartime is put on trial for the same behaviour once peace arrives. The film thereby ties the crime not only to the person but to the conditions that shaped him and the society that made use of him. That is exactly the point of the 'all' in the title. It is also valuable as a witness to post-war France facing its own past, and the Special Jury Prize at Cannes shows how live the question was at the time.

Cinephile Looks at script, editing and directing choices; keeps a distance from formula films.

Turning the courtroom film into a thesis film is a risky move, and Cayatte collects both its reward and its price. The screenplay, written with Charles Spaak, builds the case less as a character drama than as an argument, every scene pushing the case against capital punishment one step further. It is powerful but at times too didactic: characters occasionally become spokesmen for a view rather than people. Even so, the director's background in legal subjects gives the trial scenes real solidity. Seen today, its principled courage stays with you more than its narrative subtlety.

These are not reader reviews: they are short editorial takes written from different viewer perspectives with AI assistance. Reader reviews are below.

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