Nachtasyl

Jean Renoir's version of Gorky's Lower Depths is less faithful to the original than Kurosawa's film, but has its own charm. The film centers on Jean Gabin's character, the thief, and Louis Jouvet's character of the gambling baron, recently reduced to poverty through his embezzling and gambling losses. The scenes with Gabin and Jouvet together are tremendous, including their first meeting where Gabin is robbing Jouvet's mansion, later on lying in the summer grass recalling their past lives and their final parting. The other inhabitants of the flophouse, with a few exceptions, are not as delineated as in the Kurosawa version. This is not an ensemble acting piece like Kurosawa's, but very much a Gabin star vehicle. He and Jouvet really carry the film and make it one of Renoir's best. It's not in the same league as Grand Illusion and Rules of the Game, but very good. Four of 5 stars.

Now that Criterion has released not one but two 'Lower Depth' features, one by Renoir, the other by Kurosawa, you have a double bill of masterpieces to look forward to. Renoir's contribution to this menage is a surprisingly buoyant one. Gabin and Jouvet dominate the film with their mano-a-mano discussions on life and freedom. Suzy Prim is properly bitchy as the woman scorned, although Junie Astor as her oppressed sister doesn't have it in her to elevate the scenes that she's in. The plot is almost completely different from Gorky's, yet the playwright read and publicly approved of the project. In Renoir's world there is always a way out for those who are kind and strive. There are doomed souls too, but their fates are laid out in a gentle, loving manner. This isn't the best Renoir film, but it reflects his lifelong humanism and warmth (and many depth-of-field shots for those mise-en-scene fanatics). Needless to day, I enjoyed it thoroughly.

Watch this movie if only to see the soul of Jean Gabin as it plays across his face. Louis Jouvet as the Baron is a marvel of understatement, of course. Beautifully filmed, the world of black and white film is a pleasure, in this movie, to watch. The scenes and the plot remind us of life not so long ago, a life that was harsh and brutal and filled with class divisions, you were wealthy or you were wretched. It made me want to read the original play by Maxim Gorky. Apparently Yvgeny Zamyatin, a long forgotten but brilliant Russian writer, contributed to the screenplay as well. Jean Gabin is a great actor, few people recognize his marvelous talents.

Having seen Akira Kurosawa's 1957 version of the Maxim Gorky play prior to Jean Renoir's 1936 adaptation, I must admit that they couldn't be more different despite being rooted in the same material. Certainly the characters and situations are similar but the tone utilized by each of these world-class directors is so vast in comparison it bears mentioning. While Kurosawa insisted on focusing on these people's problems and their desperation to escape the futility of their world by remaining within the impoverished setting for the entire film, Renoir takes a lighter side by exploring the outside world, showing various methods of escape these characters dream of.

As with Kurosawa, the main focus of Renoir is the love triangle between the thief (played here remarkably by the subtle Jean Gabin) and two sisters, the elder shrill one being the landlord's wife and the other being rather sweet, gentle and somewhat innocent. To me, Renoir plays it better although it is certainly possible that Kurosawa meant specifically to showcase the love triangle as bleak as possible. As for Renoir, he gives all the characters something to say or reminisce about, usually love and death, life and happiness. The rhythm of the dialogue is so melodic and harmonious, it is one of the easiest listening experiences of any foreign film. The conversations between characters is brief but full of meaning, making for a terrific audience experience.

In short, both Renoir and Kurosawa's versions should be viewed although for different reasons. To see Kurosawa's is to see a master director able to balance several characters and story-lines all while maintaining the tone and decorum of futile loneliness. Renoir does the same, only with that particular French joie de vivre. Whatever is to your liking, rest assured each of these films will deliver.

It was not the first time Renoir had tackled a literary work:he had already transferred to the screen Zola's "Nana" and Flaubert's "Madame Bovary" .More masterpieces were to follow with Maupassant's "Une Partie de Campagne" -though unfinished,it's my favorite- and Zola's(again)"La Bete Humaine".

I do not think that "les Bas-Fonds" is in the same league as the four works I mention above.The problem lies in the fact that this is a Russian classic and that a French director cannot "feel" it like he does in a celebrated novel of his cultural heritage such as "Madame Bovary".Yes,the names are kept,and they pay in Roubles and Kopecks.It's not enough to create a Russian atmosphere .Renoir told that he wanted to Frenchify the novel :but Gabin and Jouvet ,although they are the creme de la creme of French actors of that era (and of all time) ,are not credible as Russians or Frenchified Russians.

Renoir's permanent features of the thirties are present.His anarchist mind ,present in such works as "La Chienne " and "Boudu Sauvé des Eaux" comes to the fore:the endings of "Boudu" and "Les Bas-Fonds" are similar ,when the two heroes hit the road,turning their back on a society they despise.Suzy Prim's Vassilissa is a distant relative of Lulu "La Chienne".