The Lower Depths
(1936)
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The Lower Depths
(1936)
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| Cast overview, first billed only: | |||
| Jean Gabin | ... |
Wasska Pepel
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Suzy Prim | ... |
Vassilissa Kostyleva
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Louis Jouvet | ... |
Le baron /
The Baron
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Jany Holt | ... |
Nastia
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Vladimir Sokoloff | ... |
Kostylev
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Robert Le Vigan | ... |
The Alcoholic Actor
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Camille Bert | ... |
The Count
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René Génin | ... |
Louka, the wise old man
(as René Genin)
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Paul Temps | ... |
Satine
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Robert Ozanne | ... |
Jabot de Travers
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Henri Saint-Isle | ... |
Kletsch, the cobbler
(as Saint-Iles)
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Alex Allin |
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André Gabriello | ... |
The Inspector
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Léon Larive | ... |
Felix, le majordomo
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Nathalie Alexeeff | ... |
Anna, the dying woman
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The winner of the Louis Delluc Prize as the most outstanding French photo-play of 1936, as selected by the Young Independent Critics of France (an organization and not a description.) The film treats the imprisoning hold of poverty; the disheartening odds of people rising from such social despair, and the ease in which those in the upper spheres of Society may descend. Written by Les Adams <longhorn1939@suddenlink.net>
Having seen Akira Kurosawa's 1957 version of the Maxim Gorky play prior to Jean Renoir's 1936 adaptation, I must admit that they couldn't be more different despite being rooted in the same material. Certainly the characters and situations are similar but the tone utilized by each of these world-class directors is so vast in comparison it bears mentioning. While Kurosawa insisted on focusing on these people's problems and their desperation to escape the futility of their world by remaining within the impoverished setting for the entire film, Renoir takes a lighter side by exploring the outside world, showing various methods of escape these characters dream of.
As with Kurosawa, the main focus of Renoir is the love triangle between the thief (played here remarkably by the subtle Jean Gabin) and two sisters, the elder shrill one being the landlord's wife and the other being rather sweet, gentle and somewhat innocent. To me, Renoir plays it better although it is certainly possible that Kurosawa meant specifically to showcase the love triangle as bleak as possible. As for Renoir, he gives all the characters something to say or reminisce about, usually love and death, life and happiness. The rhythm of the dialogue is so melodic and harmonious, it is one of the easiest listening experiences of any foreign film. The conversations between characters is brief but full of meaning, making for a terrific audience experience.
In short, both Renoir and Kurosawa's versions should be viewed although for different reasons. To see Kurosawa's is to see a master director able to balance several characters and story-lines all while maintaining the tone and decorum of futile loneliness. Renoir does the same, only with that particular French joie de vivre. Whatever is to your liking, rest assured each of these films will deliver.