All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Francois, a sympathetic factory worker, kills Valentin with a gun. He locked himself in his furnished room and starts remembering how he was led to murder. He met once Francoise, a young fleurist, and they fell in love. But Francoise was gotten round by Valentin, a dog trainer, a machiavellian guy...
In my opinion Marcel Carné is underrated despite the critical acclaim for his films if only for the sole reason that Jean Renoir is often cited as the "Grandfather of French cinema". That seems like an unfair title to be given if Carné was operating at the same time as Renoir and his output was just as potent if not superior. Le jour se lève is a prime example of this. For starters put this into perspective that Le jour se lève was released in 1939 and contains a quite brilliant script featuring a non-linear story arc. So in essence it predates while doing the same "original" form of storytelling that Citizen Kane was lauded for two years later.
Excellent Jean Gabin as a killer recollecting what occurred on that fatal night. Such gloomy atmosphere all-round. Marcel Carné could really stage his dangerous drama! Only thing missing was a touching story leading up to the tragedy. Instead we get a fairly distorted romance affair involving Gabin, two ladies and the sneaky Jules Berry, which in all honesty doesn't merit any killing. Gabin is still fantastic as the doomed man gone mad and the handy work with the rest of the film is marvelous!
Outstanding noirish / poetic realism from Marcel Carné. I was slightly distracted by déjà vu from having seen the 1947 remake, The Long Night, which is a passable film on it's own, but pales in comparison to the original. RKO should have been hauled in front of a war crimes tribunal for attempting to destroy every existing print of this film when they made their remake.
Jules Berry almost steals the show from Gabin, and Arletty is wonderful. Glorious production, set design, lighting, The Works.
We managed to swindle a preview copy of the 75th Anniversary DVD for failedcritics.com that restores the film to its original cut, including scenes previously censored by the Vichy government.
It's the first Carné film I've seen and whilst I didn't really know what to expect from a film dubbed 'poetic realism', it turned out to be (unsurprisingly, I guess) really, really good. From the great performances, to the meticulous set designs and thoughtful dialogue (now credited to Jaques Viot), Le Jour se leve has converted me. Vive la France!
Full review over at Failed Critics:
What a time to be alive! A time where films made 75 years ago, whose badly stored original negatives are left to…
Le jour se lève
"Marcel Carné's photography and Jean Gabin's acting are wonderful in this film. We know at the beginning of the film that François (Gabin) has murdered another man, through flashbacks we find out why. Definitely one for Gabin fans."
One of the forerunners of French poetic realism, Marcel Carné's DAYBREAK is a great film with strong performances from Jean Gabin and Jules Berry, and a claustrophobic, dreary quality permeating its every moment. It's a nonlinear narrative, beginning with its shockingly bleak ending, and then alternating between flashbacks mostly occurring in week prior to the ending, and scenes in the tensely constrained hotel room post-incident. The juxtaposition is effective, but Carné unfortunately underestimates his own visual communication, filling practically every scene with dialogue that is sharp, sometimes funny, and always astute, but often superfluous. Many of the implicit emotions and feelings of scenes were already represented by the shot, and didn't so much necessitate the further explanation.
Still, DAYBREAK's influence…
Increadible. Gabin is fantastic in almost all he does. A must see for those wanting to see how film was like before the French New Wave.
Το απόγειο του γαλλικού ποιητικού ρεαλισμού, όπως αυτός εκφράζεται από τα "αντι-πρότυπα" των πρωταγωνιστών οι οποίοι εν μέσω δυσμενών καταστάσεων βιώνουν παράφορους έρωτες, διχάζονται και χειροδικούν για να καταλήξουν απλά στην έκφραση του απόλυτου φαταλισμού όταν συνειδητοποιούν το αδιέξοδο της ύπαρξης τους (και των καταστάσεών τους), μια ιδέα που απεικονίζεται όμορφα στα τελευταία πλάνα της ταινίας όπου ο πρωταγωνιστής νοιώθει τόσο "στενεμένος" ανάμεσα στον νόμο, τις τύψεις, τους έρωτες, την αδικία, τη μαφία κι όποιο άλλο κοινωνικό "αγκάθι" θίγεται στα (περίπου) ενενήντα λεπτά, όσο και το δωμάτιο στο οποίο εθελοντικά περιχαρακώθηκε κι οχυρώθηκε, προκειμένου να αποφύγει ακριβώς αυτά τα εξωτερικά μπαράζ που δέχεται.
SAW: at the Laemmle Royal, with J.Y.
Le Jour Se Lève / Daybreak (Marcel Carné, 1939) 10/10
Classic french film and forerunner of film noir about four people trapped in a situation that can only lead to a bleak outcome. A factory worker (Jean Gabin) shoots dead a man (Jules Berry), holes up in the apartment and waits for death as the police close in on him and the townfolk outside become spectators of this tragic circus. A long flashback reveals how this man came to such a situation which involves two women - the "good" (Jacqueline Laurent) and the "bad" (the wonderfully jaded Arletty), both of whom he loves. The film rests on the performance of the great Jean Gabin who could always so easily use his dead pan face to convey a variety of emotions. The moody cinematography helps in creating an atmosphere of doom.
The last several minutes of the film left a lot to be desired, but I liked just about everything up until that point.
Beautiful camera work in this atmospheric drama about what led a man to commit murder. Outstanding performances by Gabin and the rest of the cast.
Despite some compelling visual flourishes--undoubtedly a forerunner to American film noir--I still can't help but find much of Marcel Carné's work dated in ways that his peers (Renoir and Vigo, in particular) are not. A film both daring and dated.
The most celebrated example of the doom-laden, darkly shadowed “poetic realism” that flourished in France in the years leading up to World War II. Jean Gabin is the honest, timid workingman who, hiding from the police in an attic room, spends the night remembering the events that led him to murder. The screenplay is by Jacques Prevert, the most accomplished dialogist of the period, and the famous sets, with their overtones of German expressionism, are by Alexander Trauner. Only the direction, by Marcel Carne, seems less than it could be; there's a lack of imagination and suppleness in the images that pulls the film down. With Jules Berry, Arletty, and Jacqueline Laurent (1939). In French with subtitles.
Opens with a bang, and from there Jean Gabin as a regular working man keeps falling in front of our eyes as we learn why. Falling in love with a girl, falling into bed with another, and finally falling for the human condition; his own, the girl's and that of Jules Berry's Valentin. Carné makes most of it irresistible, and the innovative storytelling works seamlessly.
Full review at Stories from the Ark