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Your perfect life? Stolen. Your name? Not yours. Your sanity? Next.
TMDB
54
IMDb
65

Crossroads (1938)

paranoia potionidentity heistbougie nightmare

Overview

Drama

A wealthy industrialist, Roger de Vetheuil, married, feels assured of aging in peace. Then appears a blackmailer who accuses him of being a usurper, actually called Jean Pelletier, a mobster well known to police. Vetheuil, judging himself slandered, refuses to listen to his tormentor and goes to the police. The man speaks. The scandal is public soon ...

Flag of FRFRFrench
Content warning
constructed identityclass fragilitytruth vs. reputationmaternal sacrifice

Standout Aspects

Acting

Charles Vanel's unraveling from smug bourgeois to shattered man.

Direction

Bernhardt builds dread through silence and glances.

Writing

Tight 69-minute descent with no wasted frame.

Best for:Solo: Late night when you want to question your entire existence.·Streaming: Perfect for discovering pre-war French cinema gems.
Heads up:Emotional: Mothers suffer terribly; one devastating revelation scene.
Curtis Bernhardt

Director

Curtis Bernhardt

ReleasedSep 9, 1938
Runtime1h 9m
StatusReleased

Vibe

Pacesteady
Intensitymedium
Tonedark
Feelheavy
B.U.P. Française

Top Cast

Charles Vanel

Charles Vanel

Roger de Vétheuil

Jules Berry

Jules Berry

Lucien Sarrow

Suzy Prim

Suzy Prim

Michèle Allain

Tania Fédor

Tania Fédor

Anna de Vétheuil

Marcelle Géniat

Marcelle Géniat

Mrs. Pelletier

Jean Claudio

Jean Claudio

Paul de Vétheuil

Pierre Palau

Pierre Palau

Leduc, first blackmailer

Marcel Melrac

Marcel Melrac

Gendarme

Paul Amiot

Paul Amiot

President

Eddy Debray

Eddy Debray

An accused

Jean Tissier

Jean Tissier

Travel agency employee

Auguste Bovério

Auguste Bovério

Pierre

Marcel Duhamel

Marcel Duhamel

Domestic (uncredited)

Ask about Crossroads

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Deep Dive

Trivia, insights & behind the scenes

Trivia

Curtis Bernhardt fled Germany in 1933; this 1938 French film was his last before Hollywood, where he'd direct Bette Davis in 'Possessed.' The exile's eye for fractured identity bleeds into every frame.

Cultural

The 'usurper who stole a dead man's identity' was a genuine obsession in 1930s European cinema, reflecting interwar anxieties about class mobility and unstable national identities. Roger's crime and cover-up mirror the era's fear that anyone could be someone else entirely.

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