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Told in flashbacks, the story slowly enfolds to explain the death that started the movie. A very touching love story. The guy is just trying to find a little love in his daily struggle to work a dead end job and make ends meet. There is miscommunication between some couples. Characters are unsure about what it is they really want out of life. Events lead tragically to a death. Trapped in his room by the police, the crowd responds with varying degrees of sympathy and confusion. Was the death inevitable? Those are the questions. In the end, you understand how the situation could have ended differently. You will enjoy this movie.

Carne and Prevert on a roll; hot on the heels of 'Quai des Brumes' comes this, next up will be Les Visiteurs du Soir' and THAT will be followed by 'Les Enfants du Paradis'. Get out of that, John Ford/Dudley Nichols. Where do you start with something like this, someone send a Runner for a new set of superlatives. Start with the heavy? Jules Berry, they don't come any oilier, he'd already scored in a previous Prevert script, 'Le Crime du Monsieur Lange' with Renoir on bullhorn and he used this as a warm-up for his Satan in 'Visiteurs'. Arletty? Garance-in-Waiting, 'Hotel du Nord' behind her, 'Visiteurs/Enfants' to follow. Gabin? What can I say. Even Nat Cole didn't have a trio like this. To quote the title of an earlier (1935) Gabin vehicle this was truly La Belle Equipe. How Hollywood could cast Hank Fonda in the Gabin role is beyond me. Hank, 'aw shucks' Fonda, niceness personified as decent but RUGGED Gabin? Come on, already. Vincent Price plays Jules Berry? Get real! Sandy Trauner's brilliant apartment building sets the tone here from frame #1. What an opening, Jules Berry exiting Gabin's room and running out of breath. Crowd assembling. Nowhere-To-Go Gabin holed up in his 10 by 6 reminiscing in Gitane time. Never had a chance, life's a bitch and then you die. Basically that's all there is to it. But, as someone once said, it's the way you tell them. Brilliant in spades.

sentimental, far to be great, almost common. but seductive under the science of Carne to give delicate nuances to flash backs, to transform scenes in little gems. and, in same measure, the art of Prevert to transform each detail in a precise piece of puzzle. a film about love and innocence. about a kind of Mephisto - remarkable performance of Berry - and delicate lights of role in Jacqueline Laurent performance. but, in many aspects, a film of Arletty and Jean Gabin. not a surprise. the names of director and scriptwriter are basic guarantees for a remarkable work. but, after so many years, like many other films," Le jour se leve" has more seductive sparkles and great profound value.

That was one of the last French masterpieces of the thirties just before the war.Marcel Carné was accused of pessimism and the movie was quickly forbidden by the military censorship that used to say in 1940:"if we've lost the war,blame it on "Quai des Brumes""(Carné's precedent movie.The director answered:"you do not blame a barometer for the storm"). "Le jour se lève " is,if it's possible,darker than its predecessor. From the very beginning,the hero,a good guy (Gabin) is doomed,his fate is already sealed,because the tragedy has already happened .That's why the movie is a long flashback.The memories are brought back on the screen with an astounding virtuosity by some elements of the set (the teddy bear for instance).Only three main characters outside that of Gabin,the evil one (Berry who was to play the devil in "les visiteurs du soir "1942),the lucid one (Arletty) and the ambiguous one (Jacqueline Laurent).The latter provides

the only flaw of the movie:Laurent acts Françoise as the innocent pure girl,however Carné leaves no doubt about her relations with Berry. A remake was made by Anatole Litvak with Henry Fonda ,Barbara Bel Geddes and Ann Dvorak (who must have been studying Arletty's acting for a long while),called "the long night" with an absurd happy end. Needless to say,it's the French Carné movie that you've got to see!

French cinema at its best. Ideas of freedom, entrapment, isolation and realism wound into a great film which is carried by Gabin from the opening scene of the murder, through flashbacks he has remembered to the amazingly brutal final shot. Gabin and Laurent in the factory near the beginning of the movie is poetic realism at its most involving.