IMDb RATING
7.6/10
7.6K
YOUR RATING
In this classic adaptation of Emile Zola's novel, a tortured train engineer falls in love with a troubled married woman who has helped her husband commit a murder.In this classic adaptation of Emile Zola's novel, a tortured train engineer falls in love with a troubled married woman who has helped her husband commit a murder.In this classic adaptation of Emile Zola's novel, a tortured train engineer falls in love with a troubled married woman who has helped her husband commit a murder.
IMDb RATING
7.6/10
7.6K
YOUR RATING
- Director
- Writers
- Émile Zola(novel)
- Jean Renoir(adaptation and dialogue)
- Denise Leblond(dialogue)
- Stars
Top credits
- Director
- Writers
- Émile Zola(novel)
- Jean Renoir(adaptation and dialogue)
- Denise Leblond(dialogue)
- Stars
- Awards
- 1 nomination
Gérard Landry
- Le fils Dauvergneas Le fils Dauvergne
- (as Gerard Landry)
Jenny Hélia
- Philomène Sauvagnatas Philomène Sauvagnat
- (as Jenny Helia)
Colette Régis
- Victoire Pecqueuxas Victoire Pecqueux
- (as Colette Regis)
Claire Gérard
- Une voyageuseas Une voyageuse
- (as Claire Gerard)
Jacques Berlioz
- Grandmorinas Grandmorin
- (as Berlioz)
Marcel Pérès
- Un lampisteas Un lampiste
- (as Perez)
Jacques Becker
- Un lampisteas Un lampiste
- (uncredited)
- Director
- Writers
- Émile Zola(novel)
- Jean Renoir(adaptation and dialogue) (screenplay) (uncredited)
- Denise Leblond(dialogue) (uncredited)
- All cast & crew
- See more cast details at IMDbPro
Storyline
Jacques Lantier is a train engineer who is prone to violent seizures, a condition he attributes to his forefathers' habit of excessive drinking. Roubaud is a train conductor on the same railroad that Lantier works on, married to the much younger Séverine. When Roubaud catches wind of his wife's affair with her godfather, the wealthy M. Grandmorin, he kills him during a train journey in a fit of jealousy. He makes sure that Séverine is also present, making her an accomplice to murder. Lantier, despite having witnessed them quite clearly in the train corridor, hides the fact during the investigation as he is attracted to Séverine. They both begin an affair, all the while Roubaud becomes increasingly withdrawn and starts to gamble. Séverine urges Lantier to kill her husband so that they would be free but she is unaware of Lantier's unfortunate condition. —Soumitra
- Taglines
- From the novel "La Bete Humaine" a drama of consuming passions, directed by Jean Renoir
- Genres
- Certificate
- Not Rated
- Parents guide
Did you know
- TriviaJean Gabin learned how to conduct locomotive before shooting.
- Quotes
Jacques Lantier: Pecqueux, I have to tell you something. Don't say a word and don't move. I killed her. That's right, I killed her. It's all over. I'll never see her again. It'll be the death of me, I know it. I couldn't bear to hold her anymore. I loved her, you know? I loved her little hands most of all. But there's one thing I don't get: why haven't they arrested me?
- ConnectionsEdited into Histoire(s) du cinéma: Une histoire seule (1989)
Top review
Renoir & Zola Make a Good Combination
Jean Renoir's "La Bête Humaine" is an excellent screen adaptation of Émile Zola's novel, which also contains some excellent photography and a fine performance by lead actor Jean Gabin. While usually overshadowed by Renoir's other more (justifiably) celebrated masterpieces, in itself it is a very good picture, with Zola's ideas and characters providing ideal material for the great director.
Most likely, the reason why "La Bête Humaine" is less appreciated than Renoir's other works is because it is so closely tied to the novel - which itself is actually part of a series of novels. Someone not familiar with Zola would find it harder to understand some of the action, especially the behavior of the main character, railway engineer Jacques Lantier (Gabin). There is a brief message at the opening of the film explaining the basic theme, but it would hardly be possible to bring an audience completely up-to-date with just a short note.
The novel on which the film is based is part of a series of 20 novels that Zola wrote, which cover the history of a single family through several generations and through several decades of 19th-century French history. Each of these stories is capable of standing on its own, but they are more satisfying if you know at least something of the broader context. "La Bête Humaine" is one of the last few volumes in the series, and accordingly, it largely assumes a familiarity with the basic themes. Zola had two main concerns in these novels: (i) to show how certain family traits (positive and negative) re-appear in successive generations, and (ii) to show how the lives of a particular family reflect events and trends in French society as a whole. Zola was a naturalistic writer - he had a strong sense of identification with and sympathy for his characters, but he also portrayed his characters and his country in an uncompromising light, just as they were.
There are at least a couple of ways that this context helps better to appreciate the film version of "La Bête Humaine". First, Jacques Lantier comes from a branch of the family that was particularly plagued with mental instability. He has many positive qualities, but also is tormented by barely-suppressed violent urges. Gabin does an excellent job (as he always does) of portraying his character, but some of it is lost if the viewer is unaware of who he is supposed to be. Second, the railway setting, interesting in its own right, is meant to be suggestive of other forces, both within Lantier's mind and also outside of his life. (The action in this story is supposed to have taken place in about 1870, a tumultuous time in French history.)
All of this comes together in the outstanding opening sequence, which shows Lantier's train rushing across the countryside. The beautiful photography and skillful editing help us to feel as if we were in the train with him, and all of this is supposed to suggest not just the setting of the story to come, but also the powerful forces - both inside Lantier and outside of him - which he cannot control.
All of the subsequent plot developments - interesting and sometimes surprising in themselves - build on this foundation. This is nicely and carefully done, even if some of it is unfortunately lost if the viewer does not know a little of the wider context.
Most likely, the reason why "La Bête Humaine" is less appreciated than Renoir's other works is because it is so closely tied to the novel - which itself is actually part of a series of novels. Someone not familiar with Zola would find it harder to understand some of the action, especially the behavior of the main character, railway engineer Jacques Lantier (Gabin). There is a brief message at the opening of the film explaining the basic theme, but it would hardly be possible to bring an audience completely up-to-date with just a short note.
The novel on which the film is based is part of a series of 20 novels that Zola wrote, which cover the history of a single family through several generations and through several decades of 19th-century French history. Each of these stories is capable of standing on its own, but they are more satisfying if you know at least something of the broader context. "La Bête Humaine" is one of the last few volumes in the series, and accordingly, it largely assumes a familiarity with the basic themes. Zola had two main concerns in these novels: (i) to show how certain family traits (positive and negative) re-appear in successive generations, and (ii) to show how the lives of a particular family reflect events and trends in French society as a whole. Zola was a naturalistic writer - he had a strong sense of identification with and sympathy for his characters, but he also portrayed his characters and his country in an uncompromising light, just as they were.
There are at least a couple of ways that this context helps better to appreciate the film version of "La Bête Humaine". First, Jacques Lantier comes from a branch of the family that was particularly plagued with mental instability. He has many positive qualities, but also is tormented by barely-suppressed violent urges. Gabin does an excellent job (as he always does) of portraying his character, but some of it is lost if the viewer is unaware of who he is supposed to be. Second, the railway setting, interesting in its own right, is meant to be suggestive of other forces, both within Lantier's mind and also outside of his life. (The action in this story is supposed to have taken place in about 1870, a tumultuous time in French history.)
All of this comes together in the outstanding opening sequence, which shows Lantier's train rushing across the countryside. The beautiful photography and skillful editing help us to feel as if we were in the train with him, and all of this is supposed to suggest not just the setting of the story to come, but also the powerful forces - both inside Lantier and outside of him - which he cannot control.
All of the subsequent plot developments - interesting and sometimes surprising in themselves - build on this foundation. This is nicely and carefully done, even if some of it is unfortunately lost if the viewer does not know a little of the wider context.
helpful•875
- Snow Leopard
- May 24, 2001
Details
- Runtime1 hour 40 minutes
- Color
- Aspect ratio
- 1.37 : 1
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