Pépé le Moko is a gangster from Paris that hides in Algier's Casbah. In the Casbah, he is safe and is able to elude the police's attempts to capture him. But he misses his freedom, after ... See full summary »
A French farce set in Victorian London where a botanist and his wife get into trouble when they pretend to go missing in order to hide from their sanctimonious cousin -- an Anglican bishop who is leading a campaign against such writing.
This tale centers around the love between Baptiste, a theater mime, and Claire Reine, an actress and otherwise woman-about-town who calls herself Garance. Garance, in turn, is loved by ... See full summary »
At the end of the 15th century, two minstrels Gilles and Dominique come from nowhere into the castle of Baron Hugues. Gilles charms Anne, Hughes' daughter, while Dominique charms both ... See full summary »
Paris, during the winter after its Liberation. Jean Diego meets up with his friend Raymond Lecuyer again. A tramp, pretending that he the Destiny, predicts Jean will meet the most beautiful... See full summary »
A young couple, Renee and Pierre, take one night a room at the Hotel du Nord, in Paris, near the canal Saint-Martin. They want to die together, but after having shooted at Renee, Pierre ... See full summary »
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... Written by
This film was released in June 1939, only a year before France's surrender to the Nazis, who subsequently occupied the country. Although this film has no overt political content, according to film scholar Roy Armes, the scene in which the crowd on the street below expresses solidarity with the trapped François - which he rejects, shouting that he only wants to be left alone - reflected the political despair of the period, "a chilling epilogue to a brief period which had opened with the enthusiasms aroused by the Popular Front." [French Cinema, Oxford University Press, 1985, p. 102] In validation of this view, the government of Vichy (unoccupied France) shortly afterwards banned the film as "demoralizing," as if it had been partly responsible for France's defeat. See more »
You're the type women fall in love with . . . I'm the type that interests them.
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Carne's murder romance seems a little dated now, its rigid structure and frail artifice too polite for the hysteria necessary for film noir. Carne's tendency to reduce to types is at its most stilted here, leaving one with little room to breathe. There is still much that is majestic and dreamlike
the extraordinary sets, their imposing facades as repressive to Francois
as the human world he can't understand; Carne's elegant way with composition and camera movement, especially when he allows himself to see people, not allegories; the unparalleled acting, emotion from another age, yet yearningly, recognisably human.
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