All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
After committing a murder, a man locks himself in his apartment and recollects the events the led him to the killing.
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.
From the absolute dynamite opening through the flashback structure until the inevitable end it feels like Carne is writing the rules of Noir while actually making something very different. Something more romantic, something more French that uses the violence in the service of a story about destiny and love rather than for its own sake.
Gabin gets caught between two women and a manipulative jerk and loses everything. He looks back on how it happened without ever really coming to any conclusions or changing or learning or even seeing anything he could or should have done differently, just witnessing the out of control roller coaster of events.
It's gorgeously shot, the extras add so much to the murder and siege…
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!
The enemy in this is a man named Valentin, played with remarkably fraught candor by Jules Berry. Valentin is a dog trainer who can train a dog in 3 days. How does he do it? His former partner, Clara (Arletty) explains: he shaves the dogs' paws and burns them with an iron, then, when it comes time to reinforce a command, he tickles their paws.
He's gross. The tragedy here isn't that he dies but that, so far as concerns the two lovers François and Françoise, whose names are a cosmic hint, little comes of his death but their being further ripped apart. That's poetic realism, for you. Funny, though, how you can know that, know the stylistic hallmarks to…
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."
The film makes intriguing use of flashbacks to add complexity to a simple story of a murder and the romance that led to it. Jean Gabin is perfect, of course.
A near-perfect and engrossing humanist portrayal of the plight of working class people and the engulfing distance between them and even a slightly higher middle class. Gabin is fascinating as a man with nothing left to lose as his pent up frustrations all come tumbling out at once. And as final shots go, this one's a doozy.
If Gabin was the French Bogart, then this picture is his High Sierra (only better).
I’m not a fan of Marcel Carné. In the late 1930s and early 1940s he was regarded as the Great French film director, but his reputation declined after the War. Many of his earlier films are still regarded as Classics, but I find his films mechanical, following prescribed methods of good taste professionalism, a sort of French David Lean (but without the inflation of Lean’s later period). But I do like this film. Despite or because of Carné? I can’t judge Jacques Prevert’s much admired dialogue – my French isn’t strong enough. There’s Maurice Jaubert’s music and the atmosphere of late 1930s French working class life – obviously filmed on studio sets, but the recreation of the Northern industrial area…
This is historically notable to me for two reasons: this is earliest film I've seen whose narrative primarily relies on flashbacks, and the earliest film portrayal of a consensually open relationship. The gradual build-up of the plot and exploration of the various relationships between the characters was done really well, even if the Murder itself seemed anticlimactic and undeserved.
This review may contain spoilers. I can handle the truth.
Mein dritter Film mit Jean Gabin und wieder eine super performance von ihm.
Jean verliebt sich in ein Mädchen findet raus dass sie schon einen Liebhaber hat. Er tötet diesen im Streit und wird von der Polizei belagert.
All das wird in Rückblenden erzählt.
Should be no surprise that this nearly 80 year old film deals with sex, jealousy, and the plight of the working class way better than than any of that stupid new stuff.
High-rated movies with very few views. Suggestions are welcome.
UPDATED: September 11, 2016
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…