A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.

Director:

Reviews

Photos

Add Image Add an image

Do you have any images for this title?

Learn more

People who liked this also liked... 

Short | Romance
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Two people stand on a road, out of focus. Seen distorted through a glass, they retire upstairs to a bedroom where she undresses. He says, "Adieu." Images: the beautiful girl, a starfish in ... See full summary »

Director: Man Ray
Stars: Kiki of Montparnasse, André de la Rivière, Robert Desnos
Emak-Bakia (1927)
Short
    1 2 3 4 5 6 7 8 9 10 7.1/10 X  

A long series of unrelated images, revolving, often distorted: lights, flowers, nails. A lightboard appears from time to time carrying the news of the day. Then, an eye. A woman in a car ... See full summary »

Director: Man Ray
Stars: Kiki of Montparnasse, Jacques Rigaut
Short
    1 2 3 4 5 6 7 8 9 10 7/10 X  

A woman--a pained expression on her face--burns letters in a stove.

Director: Dimitri Kirsanoff
Stars: Nadia Sibirskaïa
Entr'acte (1924)
Short | Fantasy
    1 2 3 4 5 6 7 8 9 10 7.5/10 X  

An absolute dada movie. Somebody gets killed, his coffin gets out of control and after a chase it stops. The person gets out of it and let everybody who followed the coffin dissapear.

Director: René Clair
Stars: Jean Börlin, Inge Frïss, Francis Picabia
Anemic Cinema (1926)
Short
    1 2 3 4 5 6 7 8 9 10 6.1/10 X  

A spiral design spins dizzily. It's replaced by a spinning disk. These two continue in perfect alternation until the end: a spiral design, a disk. Each disk is labelled and can be read as ... See full summary »

Director: Marcel Duchamp
Short
    1 2 3 4 5 6 7 8 9 10 6.4/10 X  

Experimental film, white specks and shapes gyrating over a black background, a light-striped torso, a gyrating eggcrate. One of the first Dadaist films.

Director: Man Ray
Stars: Kiki of Montparnasse
Regen (1929)
Short | Documentary
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Rain falls on a Dutch city.

Directors: Mannus Franken, Joris Ivens
Short
    1 2 3 4 5 6 7 8 9 10 6.8/10 X  

A pulsing, kaleidoscope of images set to an energetic soundtrack. A young women swings in a garden; a woman's face smiles. The rest is spinning cylinders, pistons, gears and turbines, ... See full summary »

Directors: Fernand Léger, Dudley Murphy
Stars: Fernand Léger, Dudley Murphy, Katherine Murphy
Animation | Short
    1 2 3 4 5 6 7 8 9 10 7.3/10 X  

Hans Richter, noted for his abstract shorts, has everyday objects rebelling against their daily routine.

Director: Hans Richter
Stars: Werner Graeff, Walter Gronostay, Paul Hindemith
Animation | Short | Music
    1 2 3 4 5 6 7 8 9 10 6.2/10 X  

A tilted figure, consisting largely of right angles at the beginning, grows by accretion, with the addition of short straight lines and curves which sprout from the existing design. The ... See full summary »

Director: Viking Eggeling
Drama | Horror
    1 2 3 4 5 6 7 8 9 10 7.6/10 X  

A man takes a job at an asylum with hopes of freeing his imprisoned wife.

Director: Teinosuke Kinugasa
Stars: Masuo Inoue, Ayako Iijima, Yoshie Nakagawa
Short | Drama
    1 2 3 4 5 6 7 8 9 10 7.2/10 X  

This short experimental film tells the story of a man who comes to Hollywood to become a star, only to fail and be dehumanized (he is identified by the number 9314 written on his forehead),... See full summary »

Directors: Robert Florey, Slavko Vorkapich
Stars: Jules Raucourt, Voya George, Robert Florey
Edit

Cast

Credited cast:
Nadia Sibirskaïa ...
Younger Sister
Yolande Beaulieu ...
Older Sister
Guy Belmont ...
Young Man
Jean Pasquier ...
The father
Rest of cast listed alphabetically:
M. Ardouin ...
The mother
Maurice Ronsard ...
The lover
Edit

Storyline

A couple is brutally murdered in the working-class district of Paris. Later on, the narrative follows the lives of their two daughters, both in love with a Parisian thug and leading them to separate ways.

Plot Summary | Add Synopsis


Edit

Details

Country:

Release Date:

26 November 1926 (France)  »

Also Known As:

Les cent pas  »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

(Buenos Aires Festival Internacional de Cine Independiente)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
Edit

Did You Know?

Trivia

Pauline Kael said this was her favorite film of all time. See more »

Connections

Referenced in Invasion of the Body Snatchers (1978) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

 
Two-worlds (arriving before oneself)
1 October 2015 | by (Greece) – See all my reviews

This is one that no one can afford to miss in a lifetime of viewing, that is no one who's interested in the deepest workings of how things move. In my third viewing now, it may just be the pinnacle of the first 30 years. But before saying more, let's quickly clear the air from fixed perceptions so it can rise up in front of us vibrantly as what it is, all the more greater.

First to reclaim it from the museum of merely academic appreciation that covers, silents in particular, with the shroud of musky relic. Coming to us from so far back it may appear as the studied work of a venerable master - and yet it's the work of a 25 year old (filming started in '24) who shot it by himself with his girl around Paris, hand-held, and edited in camera.

The workings of fate or grande history that demand crowds and decor are pushed to the side, this is a youthful cinema ("indie" we would call it now) that beats with the heart of young people trying to fathom life in the complex city and I urge you see it as such. Kirsanov was an émigré new to Paris after all. Watch it as puzzling modern life that keeps you awake at nights, not as some scholar's symbolism.

Then to reclaim it from the clutches of "experimental" and "avant- garde", labels as though it were just about the tweaking of form, an exercise of trying to be ahead of time. There are many of those from the era, marvelous experiments in seeing, and Kirsanov was not just a wide-eyed country boy - he had articles published on "photogenie" before he made this and would know the radical tropes. But this enters beyond.

The best way I find myself able to describe it is this.

There's a story here that you can unfold in a way that it makes simple sense, melodrama about an orphaned girl lost in the big city. Melodrama since well before of course, offered us a certain facsimile of life where this clearly begat that, the disparity caused grief, the resolutions restored clarity. There's a heart breaking scene here on a bench worthy of Chaplin. She wanders with a baby cradled in her arms, trials and tribulations that innocence must go through.

Now this facsimile rippled and violently tossed about like curtains at an open window are shuffled by gusts of air, ellipsis, abstraction, rapid-fire montage, and all the other tools that Kirsanov would have known from being in Paris at the time of Epstein and others. So far so good. The film would have been great with just this mode, wholly visual, "experimental". The girl Nadia is lovely, the air dreamlike.

But there's something else he does, that is still in the process of being fathomed decades later by penetrative thinkers like Lynch. There are hidden machinations in the world of the film, illogical machinery at play, that turn at a level deeper than we can clearly fathom at any point. You should know here that Kirsanov had to cross a Europe collapsing by war and revolutions to reach Paris, he would have found out months after he left home that his father had been murdered on the street by communist thugs.

Suddenly there is the nagging sense of a presence that moves behind appearances, giving rise to mysteriously connected perturbations. A marvelous sequence shows one sister being seduced in a room (uncertain, but giving in), the other sister alone in their bed reading from a book as if daydreaming the whole dalliance.

And then the second sister knowingly letting herself be seduced, the first observing the scene from below as if she has splintered off into separate selves, one being seduced above, the other realizing in hallucinative daydream the mistake of giving herself to this boy.

This is marvelous. Impulses from an open window, and through the flimsy fabric of the curtains, the vague coming and going of people in a room, half-finished glimpses, but we begin to sense pattern here. Two girls, two murders, two seductions, but one calculated and wrong.

The most startling moment is the opening; a puzzling violence has stolen into this world, creating the story, rendered with haunting imagery of a struggle before a window. Now every account of the film I've read believes these are the parents of the girls and some madman, but this is not said anywhere. In the graveyard after, we see the father's grave with wreaths, a funeral that day, but none on the mother's, it looks abandoned. Maybe someone was caught where he shouldn't have been, calculated and wrong.

And this veiled and bubbling causality goes through everything to appear again in the finale; the first murder wasn't random, what says the second is? Maybe a holdup just so happened to visit him, maybe someone was paid off. The door is open, you go in where your body takes you.

Something to meditate upon


2 of 2 people found this review helpful.  Was this review helpful to you?

Message Boards

Recent Posts
Slip-up or deliberate? fatplank
This was Pauline Kael's favorite film jland
Alternate film score NDHFilms
Public Domain Grant_Gardner
Watch it at Internet Archive Melvelet
Deserves to be more well known oneflyride
Discuss Ménilmontant (1926) on the IMDb message boards »

Contribute to This Page

Create a character page for:
?