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 »
A wanted gangster is both king and prisoner of the Casbah. He is protected from arrest by his friends, but is torn by his desire for freedom outside. A visiting Parisian beauty may just tempt his fate.
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 »
The story of Andre Menard, a promising young amateur boxer from an impoverished background who is mentored by former pro Victor Le Garrec, and whose career path takes a nosedive when he falls for the wealthy Corinne.
Henri Chatelard is well in his forties, owns a restaurant and a cinema in the city, and appreciate women. When he meets Marie, a 18ish stronghead who just lost her father in a small ... See full summary »
During the First World War, two French soldiers are captured and imprisoned in a German P.O.W. camp. Several escape attempts follow until they are sent to a seemingly impenetrable fortress which seems impossible to escape from.
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
The main square, on which the movie opens and in which some scenes occur afterwards, was actually created for the movie: buildings, shops, street. The tall building, in which the main character lives, was built for the movie. The back side was open, which facilitated shooting inside and notably allowed the fabulous travelling shot from top to bottom of the staircase. 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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