The movie opens and closes with a most festive carnival atmosphere, with mimes and clowns prancing their wares to an enthusiastic street crowd. Amid the rabble of 1920's Paris, a somewhat aristocratic looking woman becomes the romantic target for four disparate men, some with love in mind, and some with, well, that which goes with the territory. The story takes place over two long chapters titled 'The Boulevard of Crime' and 'The Man in White', and there was a bit of a disconnect for me in that the second part took place 'several years' after the introduction of the principal players. Perhaps that was necessary to establish that one of Claire Reine/the Lady Garance's (Arletty) principal suitors, the mime artist Baptiste (Jean-Louis Barrault) wound up in marriage to Nathalie (María Casares) and was raising a son with her. For whatever reason, Garance never terminated the relationships with her remaining three paramours, who remained in her orbit and often crossed paths with each other while harboring conflicting emotions.
Though the picture managed to maintain my interest, I can't honestly say that this might have been the greatest French film ever, or as some reviewers here state, THE greatest movie of all time. Certainly director Marcel Carné created a lively and vivid period film under harsh wartime conditions while France was occupied by Nazis during World War II. It always strikes me as significant that actors and actresses can compartmentalize their emotions during times of stress to produce their particular form of art. Taking nothing away from devotees of the picture, I thought it was generally a good film but far from the 'greatest' label.
With that said, I thought each of the principals did a competent job with their portrayals, particularly Jean-Louis Barrault during his mime sequences. I was somewhat puzzled over the choice of actress Arletty as the object of desire for her four would be lovers, as she didn't strike me as stunningly beautiful per se, though there was a classic grace to her personality. Most disconcerting for this viewer was how easily Baptiste managed to cast off concern for his wife when she caught the two of them in a romantic embrace. One wonders exactly what he would do about her if he managed to track down Garance in that vast sea of clowns and revelers as the story came to a close.
Though the picture managed to maintain my interest, I can't honestly say that this might have been the greatest French film ever, or as some reviewers here state, THE greatest movie of all time. Certainly director Marcel Carné created a lively and vivid period film under harsh wartime conditions while France was occupied by Nazis during World War II. It always strikes me as significant that actors and actresses can compartmentalize their emotions during times of stress to produce their particular form of art. Taking nothing away from devotees of the picture, I thought it was generally a good film but far from the 'greatest' label.
With that said, I thought each of the principals did a competent job with their portrayals, particularly Jean-Louis Barrault during his mime sequences. I was somewhat puzzled over the choice of actress Arletty as the object of desire for her four would be lovers, as she didn't strike me as stunningly beautiful per se, though there was a classic grace to her personality. Most disconcerting for this viewer was how easily Baptiste managed to cast off concern for his wife when she caught the two of them in a romantic embrace. One wonders exactly what he would do about her if he managed to track down Garance in that vast sea of clowns and revelers as the story came to a close.