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The Moon in the Gutter (1983)
"La lune dans le caniveau" (original title)

 -  Drama  -  18 May 1983 (France)
5.9
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Ratings: 5.9/10 from 852 users  
Reviews: 15 user | 13 critic

He is a revenge-obssessed stevedore whose sister was brutally raped and murdered. She is a wealthy, elusive woman. They try hard to get together... or do they?

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Cast

Cast overview, first billed only:
...
Gérard Delmas - un docker hanté par le suicide de sa soeur
...
Loretta Channing - une fille des beaux quartiers
...
Bella - la maîtresse possessive de Gérard
Bertice Reading ...
Lola
Gabriel Monnet ...
Tom
...
Frank - le frère alcoolique de Gérard
Milena Vukotic ...
Frieda - une prostituée vieillissante
Vittorio Mezzogiorno ...
Newton Channing - le frère à la dérive de Loretta
...
Jésus
Anne-Marie Coffinet ...
Dora
Jacques Herlin
Guido Alberti ...
Le gardien de la cathédrale
Katya Berger ...
Catherine (as Katia Berger)
Rosa Fumetto
Graziano Giusti
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Storyline

In Marseilles, a woman commits suicide after she is raped in an alley. Nightly, her brother Gerard broods at the scene hoping to catch the rapist. He lives with his lover Bella whom he neglects, an alcoholic brother who lurks about, and his father who's stayed drunk since the daughter's death, ignoring work and his own companion. At a seedy bar, Gerard meets a wealthy, nihilistic hedonist and his beautiful sister. Gerard flips for her and thinks she's his ticket out of the slum. Bella warns him otherwise and also, in jealousy, sets two thugs on him. Then Gerard thinks he's found his sister's rapist. These emotional crises force Gerard to choose what's most important. Written by <jhailey@hotmail.com>

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

R | See all certifications »
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Details

Country:

|

Language:

Release Date:

18 May 1983 (France)  »

Also Known As:

The Moon in the Gutter  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(cut)

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

After completing the director's cut of Betty Blue (1986), Jean-Jacques Beineix approached Gaumont with a request that he do the same thing for The Moon in the Gutter (1983). The studio however informed Beineix that all the unused scenes from the film had been destroyed. Beineix has said that the original cut of the film was 4 hours long. See more »

Quotes

Tom: A husband, you have to earn it!
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User Reviews

 
WILL EVENTUALLY BE ACCORDED HIGHER STATUS IN SURREALIST CINEMA.
1 December 2004 | by (Mountain Mesa, California) – See all my reviews

Jean-Jacques Beineix recently stated (transl.) "An auteur does not speak the truth" and here, within this enormously powerful film, he but flirts with reality, while most of the director's creative fires feed upon his singular employment of colour and set design. The style of Beineix, as a cinematic architect, may be designated as Rococo with, as he avers, a preeminence of (transl.) "atmosphere over narrative", fostering an element of whimsy, greatly enhanced by his recognition of a symbolic authority resting upon commercial advertising and its adjuncts. A studied development of exaggerated imagination marks the film, each frame being carefully composed for a production that originally extended to over four and one half hours, in the face of Beineix' assertion that he abhors filmic structuring. This organizational factor, at least in part, stems from an obligatory reflex of the director as recognition of the film's source, a novel by David Goodis, wherein the action occurs primarily at and about dockside Philadelphia, transferred here to an undesignated Marseille, and with the novelist's prototypical women intact, one, Loretta (Nastassia Kinski), angelic and carnally unattainable, ("you are pure" declaims Gerard Depardieu to her), the second, Bella (Victoria Abril) triumphantly lusty and possessed of will such as the work's protagonist, Gerard Delmas (Depardieu) apparently does not have. Delmas is compulsively drawn to the site of his sister's gruesome death by her own hand following her sexual violation, hoping to discover keys to what prompted her suicide, to the identity of her assailant, and to a rationale behind his own obsession. Thus is formed a basis for a plot, such as it may be, yet style is properly victor over substance with this undervalued and enigmatic piece that is nearly all filmed in studio, the greatest portion lighted by arcs and photo floods, with scoring contributed in elegant and operatically motival fashion by Gabriel Yared, and paced throughout, as Beineix describes it, with (transl.) "slow gestures forming the choreography."


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