During the following decade, the film's creation of a colourful working-class neighbourhood as the setting and source of a contemporary drama found an echo in such films as La Rue sans nom (1934), La Belle Équipe (1936) and Le Crime de Monsieur Lange (1936).Raymond Chirat, "Et la parole fut...", in L'Avant-Scène Cinéma, n.281, fév. 1982. p.6.
