6.8/10
597
3 user 5 critic

That Is the Dawn (1956)

Cela s'appelle l'aurore (original title)
The wife of a physician who diligently cares for the poor, grows weary of their dull South France factory town and pressures her older husband to move to glorious Nice, on the Mediterranean... See full summary »

Director:

Luis Buñuel

Writers:

Emmanuel Roblès (novel), Luis Buñuel (adaptation) | 2 more credits »
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Cast

Cast overview, first billed only:
Georges Marchal ... Doctor Valerio
Lucia Bosé ... Clara
Julien Bertheau ... The Commissioner Fasaro
Jean-Jacques Delbo Jean-Jacques Delbo ... Gorzone
Simone Paris Simone Paris ... Mrs. Gorzone
Robert Le Fort Robert Le Fort ... Pietro
Brigitte Elloy Brigitte Elloy ... Magda
Pascal Mazzotti Pascal Mazzotti ... Azzopardi
Jane Morlet Jane Morlet
Gaston Modot ... Sandro's new tenant
Henri Nassiet Henri Nassiet ... Angela's father
Marcel Pérès Marcel Pérès ... Fesco
Yvette Thilly Yvette Thilly ... Delphine
Giani Esposito ... Sandro Galli
Nelly Borgeaud ... Angela
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Storyline

The wife of a physician who diligently cares for the poor, grows weary of their dull South France factory town and pressures her older husband to move to glorious Nice, on the Mediterranean. Dr. Valerio particularly empathizes with Sandro, the farm foreman for the town's wealthy factory owner, Gorzone. Sandro's preoccupation with caring for his ill wife, Magda, angers Gorzone. As the only local physician, will compassionate Valerio abandon his patients, and give in to his young wife's bourgeois values ? Written by David Stevens

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

See all certifications »
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Details

Country:

France | Italy

Language:

French

Release Date:

9 May 1956 (France) See more »

Also Known As:

Amanti di domani See more »

Filming Locations:

Corsica, France

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Mono

Aspect Ratio:

1.37 : 1
See full technical specs »
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Did You Know?

Trivia

The police commissioner Fasaro, repressive figure representing the established order, has on the desk of his office a volume of plays by Paul Claudel, a prominent Catholic writer. The book appears franked by a pair of handcuffs, insinuating the repulse that Buñuel felt both towards the French author and his ideology. See more »

Connections

Referenced in Adagio sostenuto (2008) See more »

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User Reviews

 
Leaving the bourgeoisie and its discreet charm....
28 October 2006 | by dbdumonteilSee all my reviews

This must be one of Bunuel's most accessible works.It's often hard to find the master's touch but ,although it sometimes recalls Italian neorealism (all that concerns Sandro's family),the picture of the Christ -the only element of surrealism in the whole work- signals Bunuel's inimitable talent.

Georges Marchal,who was good friend with the director, portrays a charitable doctor,almost what we could call a secular saint.He's got a practical mind and he does what Nazarin and Viridiana will try to do in the name of God .He is l'Honnête Homme ,in the Bunuelesque sense of the term.Religion is not part of his life and however ,he is always around when it comes to lending a hand to his fellow men.

The man of God ,the priest is also here ,but he's in the boss's bourgeois house : when the distraught Sandro (Gianni Esposito) comes to him,he tells him "go back home,my son" ,when the poor man has got no more house or wife.

The movie tells the story of a man leaving slowly but inexorably the discreet charm of the bourgeoisie.First step is falling for a woman who is not part of his milieu (Lucia Bosé).Second step is breaking up with his wife (and his father-in-law) .Third and final step is refusing to become an informer and finally joining his friends ,all working class men .

Georges Marchal gives an effective warm performance.His character is very close to the one he will play in Bunuel's French follow up "La Mort en Ce Jardin".That raider might possibly be the doctor estranged from his country,milieu and family.Both have got a practical mind: in "La Mort En ce Jardin", Marchal lights a fire with the pages of the Bible.

Bunuel's obsessions are still here : the mistreated donkey,the girl raped by her grandfather,the boys playing at soldiers and blindfolding one of them before shooting him.But they do not seem to matter much next to the hero's line of thought :this be called the dawn of his life.


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