Hôtel du Nord

"Hotel du Nord " is the only Carné movie from the 1936-1946 era which has dialogs not written by Jacques Prévert,but by Henri Jeanson.Janson was much more interested in the Jouvet/Arletty couple than in the pair of lovers,Annabella/Aumont.The latter is rather bland ,and their story recalls oddly the Edith Piaf's song "les amants d'un jour",except that the chanteuse's tale is a tragic one.What's fascinating today is this popular little world ,the canal Saint-Martin settings.

This movie is dear to the French movies buffs for another very special reason.The pimp Jouvet tells his protégée Raymonde he wants a change of air(atmosphère) Because she does not understand the meaning of the world atmosphère,the whore Raymonde (wonderful Arletty)thinks it's an insult and she delivers this line,that is ,undeniably,the most famous of the whole French cinéma:

In French :"Atmosphère?Atmosphère?Est-ce que j'ai une gueule d'atmosphère?" Translation attempt:"Atmosphere?atmosphere?Have I got an atmosphere face? This is our French "Nobody's perfect".

Hotel Du Nord is a gripping drama of guilt in which Marcel Carne portrayed an entertaining tale of ill-fated love which also functions as a revolt against the cruel world.The film is based entirely on a pair of hapless lovers.Pierre and Renee were mistaken when they believed that suicide would put an end to their misery.Hotel Du Nord has its own inimitable charm as its inhabitants have become an essential part of the establishment.There is an element of togetherness as everyone flocks to Hotel Du Nord to eat,chat etc.Marcel Carne has remained true to the spirit of the films produced in 30s and 40s as Hotel Du Nord has a certain kind of nostalgic feel.Carne,while recreating the life of Parisian roads was able to create a sort of nostalgia for black and white giving a unique genre of poetic realism to his oeuvre.Hotel Du Nord can be termed as a quintessence of cinematographic populism.The 14th July ball scene on the banks of Saint Martin canal remains a magnificent sequence.The film's immense popularity can be judged from the fact that Hotel Du Nord has been declared as a national monument.

I've just checked out the previous comments for this movie; it is interesting to note that 1) they are all favorable, 2) they all date from 1999 onwards and 3) they range from a simple recording of a joyous experience to the quasi-academic/analytical. This tells us clearly that even a film made 65 years ago can still speak to us today and bring pleasure on the one hand whilst inspiring in-depth analysis on the other. I am only saddened that not one commenter deigned to give a nod to Jean Aurenche, the great screenwriter (though one correspondent, did acknowledge Aurenche's co-writer Henri Jeanson who helped adapt the Eugene Dabit novel). In his 80-odd years Aurenche wrote more than 70 movies, just under half with Pierre Bost, and arguably his best known script outside France was 'Jeux Interdits' in 1952, though he also wrote 'Paris brute-t-il?' (Is Paris Burning?) an international production, and toward the end of his career, wrote for Tavernier - 'L'horlager de St. Paul', 'Coup de Torchon' - and his stories about working during the occupation inspired Tavernier to immortalize him in 'Laissez-Passer'. But I digress: French actors have always had a penchant for single names - Raimu, Bourvil, Coluche, Fernandel, etc - and in Hotel du Nord we have no less than three of them, Andrex, Annabel and Arletty. The first two fell by the wayside - unless you want to count the toilet tissue made famous in England by TV commercials featuring puppies - but Arletty remains one of the all-time greats and even rumors of collaboration have failed to dim her memory. Here she is at her best which was just as well as she was up against Louis Jouvet, another giant of the French stage and screen. The film is drenched in atmosphere which is echoed, whether intentionally or not, in Arletty's great line, which our French commenter rightly says is the most famous in French cinema and which he/she translates well as 'atmosphere, does this face look like atmosphere (is it that this face). Though he was no Jacques Prevert (but then, who is?) Aurenche had undoubtedly absorbed the poetic realism invented by Prevert and brought it to bear on this, only his sixth screenplay. Though at a basic level it is just another melodrama that ends in tears there are metaphors and symbols a plenty if, as our Dublin commenter, you care to look for them. The small, enclosed and private world just behind Gare de l'est, the 'trouble in paradise' motif that is introduced as soon as the idyllic opening sequence of 'one big happy family' has been established, the threat from outside - at a basic level the hoods who have come to find Mr Edmond, at another the Nazi thugs waiting in the wings - etc. Read it how you will it remains a great film. Apart from Aurenche none of the other commenters mentioned Bernard Blier, also at the beginning of a long and distinguished career, to say nothing of siring director Bertrand Blier - the commenter who was so struck with Louis Jouvet may care to know that Blier played opposite Jouvet some nine years later in Clouzot's 'Quai des Orfevres'. The Hotel du Nord is still standing but is now (or was when I last visited), owned by Greeks who haven't a clue about its place in history despite the smattering of lobby cards, affiches, etc in the bar and it is now a venue for English comics. The canal St. Martin is itself undergoing major changes, presumably not for the better but as for Carne's movie and Sandy Traunaur's sets, both were Canal Plus long before there was a TV channel (now technically defunct) and will remain so long after Canal + is just a co-producer credit on sub-Carne movies.

A fairly intriguing mood piece from Marcel Carne loosely based upon a book involving various tales of persons staying at the Hotel du Nord at the side of the Canal Saint-Martin. I have stayed close to this very spot myself and what was considered very much a working class spot is now much regenerated but still most recognisable. Recognisable, that is from the sets built by Carne for there is no location shooting in this 1938 film, the set apparently being so famous (and costly) at the time that the public were encouraged to visit and even dine under artificial lighting in the evenings. The film itself does not begin well and although of the two young but desperate lovers, the lovely Annabella is fine her young man played by Jean-Pierre Aumont is very bland and spouting seemingly silliness by comparison. Incredibly it turns out that the writer had objected to the choice of the actor and when thwarted deliberately gave him flat dialogue in spite. Whatever the reason this begins a little oddly, becomes very strange and settles into being a fairly diverting amusement, if that is not damning this with too faint an amount of praise. At best I would consider this an interesting insight into a strange moment in time for the French with their imminent capitulation to the Germans. Officially considered part of a limited movement known as 'poetic realism', I find the term a rather appropriate oxymoron, despite the film coming to life a little as Annabella's character interacts effectively, if not altogether believably, with those around her. I would just mention the older and more prominent couple also staying at the hotel, a prostitute and here pimp. The latter is played somewhat stiffly by Louis Jovvet, more used to working on the stage, but the jolly lady of the night is played in a much more spirited fashion by Arletty and is probably the most lively element of the film.

In a hotel in Paris two lovers agree to take their own lives, the woman is romanticizing the suicide in a degree she must represent the escapism of many not so well-off in prewar Paris. The hotel is in itself a meeting place for the people of the district. Pierre shoots Renee, but is disturbed by Edmond so he flees the scene.

The story in itself is not so extraordinary today, but nothing takes away from its impact still. It has no problem of holding your attention to the very end. Its my first meet with any involved in 'Hotel du Nord'. Louis Jouvet is very good in his joy and meaningless role that finds meaning for just a little while. So is Arletty.