Atalante

'L'Atalante' is such a lovely film from director, Jean Vigo, a man whose career would have been marvelous to behold had he not died so young. This was his last film and there are stories that he directed many of the scenes while deathly ill. This movie is a genuine masterpiece and is a must-see for anyone who truly loves the art of film. 'L'Atalante' is one of the pioneering gems of cinema.

It is a simple story about the first few days of marriage aboard a barge traveling the canals of France. Dita Parlo plays Juliette, a haunting beauty and a dreamer who longs for adventure and excitement. Her husband, Jean, is a realist who doesn't mind the rugged life aboard his ship. She tries to domesticate her husband, showing him the wonders of laundry and neatness. He is so used to the bachelor life that he doesn't even see the need to change the sheets when one of the many cats on board has kittens in their bed.

Juliette struggles with her new life and longs to visit Paris so she can explore and shop and dance and eat. She wants a more elegant and romantic life. Barge life gets more complicated due to the oafish first mate, Jules, who lurches around in a perpetual stupor and acts obnoxiously at the drop of a hat, all the while being rather charming and interesting.

When the barge finally reaches Paris, the couple plans a trip to shore. But the plan gets waylaid by Jules who isn't around to guard the boat during their absence. After a confrontation, Juliette leaves to explore her Parisian dream without Jean. And when Jules finally returns, Jean decides to abandon his wife and sets a course down the river.

A plot summary doesn't really do the film justice. Vigo employs gorgeously original camera angles and a poetic method of storytelling that makes this film impossible to forget. It has racy and subtle humor. It deals with sexuality unlike any other film of the era. It has a fantasy sequence whose power has rarely been rivaled, even in today's special effects bonanza. 'L'Atalante' is way ahead of its time. Watching this film is like peering through a time portal to the beginning of modern filmmaking. 'Citizen Kane' is often cited as the most influential film ever made... but 'L'Atalante' was 'Citizen Kane' before 'Citizen Kane'. It is no wonder that it still appears on many lists of the greatest of all time.

I find it amazing that the film, shot 70 years ago, in soft light and occasionally blurred focus, still manages to evoke truly powerful emotions and tangible sensations. Vigo's shots are cold, foggy, cramped, dirty, awkward and hard. But he slips a few truly sublime poetic moments in there to lift our hearts. When Jean regrets his decision to abandon Juliette he jumps into the river. The underwater sequence is an ethereal and magical moment in cinema. Their resulting journeys back to one another is romantic and altogether truthful. The film encapsulates the awkward and difficult early days of marriage and the journey to the days beyond, where 'real' love starts to grow.

Newly married couple Juliette and a ship captain Jean struggle through marriage as they travel on the L'atalante along with the captain's first mate Le père Jules and a cabin boy.

"L'Atalante" was mutilated by its distributor. Gaumont cut the film's run time to 65 minutes in an attempt to make it more popular and changed the title to Le chaland qui passe ("The Passing Barge"), the name of a popular song at the time by Lys Gauty, which was also inserted into the film, replacing parts of Jaubert's score. Vigo was too weak to defend the film as his condition grew worse. The film was a commercial failure, which is somewhat startling considering how it is now regarded as one of the all-time greats.

This film is what has made Jean Vigo so celebrated. It is his only full-length film, and one of only four films total. And yet he remains a towering figure in France approximately 80 years later.

As wonderful as this film is, it is really a disservice to pronounce it one of the greatest movies ever made. Whether it is or not one of them (ultimately a matter of subjective taste), such a proclamation, especially on the front of the box, puts *way* too much pressure on such a subtle, quiet film. I saw this film with high expectations (because of all of the drooling by critics), and frankly that pretty much ruined the experience. It's just absurd to suggest (by inference) that the majority of other films pale by comparison to this one.

I think it is a fascinating and very interesting movie with some moderately touching scenes, but "may be the best film of all time"? That's not fair to such a quiet, unassuming, subtle film that requires sneaking up on you to have any impact. Honestly, if the director hadn't died young, had such a promising start, and been French, I doubt anyone would have made such a huge deal over the movie. Had Vigo lived another 20 years and made 10 more movies, they would likely have categorized this film as excellent juvenilia.

"People are strange when you are stranger

Faces look ugly when you're alone

Women seem wicked when you are unwanted

Streets are uneven when you are down…" by Jim Morrsion (1963-1971)

…And city of light and love is dark and depressing when you are there without your beloved.

Director Jean Vigo died young (at 29, of septicemia) just after he finished his third and last film, "L'Atalante" which is one of the screen's great romances, about a young barge captain Jean (Jean Daste), who takes his bride Juliette (Dita Parlo) to live aboard his boat. They are in love, they fight, she disappears to see Paris, he goes searching for her, can not find her, they are both desperate and miserable until the first mate (Michel Simon in a superb comical performance) decides to find her and bring her back…

The film has many magical moments, such as the young man searching for his sweetheart under water or the movie's most erotic scene that display both Jean and Juliette tossing in their lonely beds during one aching night of separation searching for each other, longing for each other, realizing how painful and meaningless life is without the one they love.

Vigo knew that he was dying – "I am killing myself with L'Atalante", he said. His death at 29 is one of the cinema's great losses. We can only imagine what masterpieces he could've created. L'Atalante with its simple compelling story, humanity, intense, lyrical romanticism and candid eroticism shows that Vigo was a visionary and experimentalist of outstanding quality.

Filmmakers as diverse as Francois Truffaut and Lindsay Anderson have acknowledged Vigos's influence on their work.

Highly recommended: 9/10

There aren't many classics that are as deceptively simple as "L'Atalante". Its gentle, contemplative tone - punctuated by occasional stretches of Michel Simon's antics - conceals a carefully made film with some worthwhile themes that go beyond the story itself. The lavish praises that it sometimes receives have perhaps created unrealistic expectations, which is unfortunate, because it is a fine, though understated, classic.

Jean and Juliette, the two main characters, both have strengths and weaknesses that make them believable. Jean is responsible and disciplined, while Juliette is easygoing and gregarious (which makes her the easiest of the two to appreciate and to sympathize with). But Jean's rigidity and his occasional impatience, in combination with Juliette's naiveté and her occasional impulsiveness, make for difficulties in their relationship.

If they seem boring when compared to the couples in many other movie romances, it is precisely this that makes the film worthwhile. It focuses closely on two ordinary people, without distracting frills or forced social commentary. Most of us are not all that interesting to others, and our lives and problems are usually important only to us. It is part of Jean Vigo's achievement that he takes two such commonplace characters and makes them worth caring about, and by implication he tells us that we are all worth caring about, even if we and our lives may not matter much to others.

By keeping most of the action on board the boat, Vigo not only creates an atmosphere, but also forces the attention onto the characters. Simon's rather exaggerated character is used both to vary the pacing when appropriate, and to respond to the traits and actions of Jean and Juliette. The photography and the score are also used to round out the picture.

It may be true that the film is sometimes over-praised, but in large part that is simply an over-reaction to the unfortunate lack of attention that this kind of classic must so often endure. In an era when so many very weak recent movies have received regular television airings, special edition DVD's with all kinds of pointless "extras", and undeserved critical acclaim, it's all too obvious that movies requiring more effort to appreciate are too often ignored entirely.

Many recent romance movies have tried to use lavish production values, disaster or crisis settings, trendy techniques such as "non-linear" story-telling, and other such devices to cover up a lack of substance. Movies as different as "Titanic" and "The English Patient" (just to name two of many possible examples) use such methods in an attempt to pass off a romantic couple as heroic or admirable, when the characters in actuality are usually self-absorbed, vapid, and truly less worth caring about than Vigo's Jean and Juliette are.

Jean and Juliette, like most of us, know that they are not important in the grand scheme of things, and they are probably rather well aware of their own weaknesses. They are neither saints nor sinners, neither victims nor heroes, they are just human, and therefore worth caring about. "L'Atalante" itself is not "the greatest movie ever made", especially since there is no such thing anyway, but it is a thoughtful and carefully crafted classic that stays with you well after you have seen it.