Drei Zimmer in Manhattan

Two charismatic and compelling stars (Annie Girardot has never looked better) in a slight romance tale that never builds up much steam; the name of Georges Simenon on the credits creates expectations that are never fulfilled. Interesting to see New York through French lens; the film is also notable for what must surely be a record number of cigarretes and drinks consumed by the two leads. ** out of 4.

I've just seen THREE ROOMS IN MANHATTAN and I must confess I am still under the spell of this strange film. Although the story line sounds artificial and a little weird at first glance, every minute of the film is marked by a profound sense of truth. No doubt this is due to the marvelous actors - Girardot and Ronet have done outstanding work here - but Carné must be credited for the moody atmosphere, as well as the sensitive handling of the characters and their personal dramas. Manhattan in the mid-sixties has a palpable feel that is fascinating. The cinematography is excellent, so is the beautiful music score. Both have a haunting, poetic touch. Most importantly, we keep interested in the characters and their destiny to the very end.

Marcel Carné ,who was once one of the finest directors France had ever had ("les enfants du paradis",to name but one)was having a bad time during the sixties.He was ceaselessly criticized by the new wave.Instead of filming in his own and brilliant way,he tried to ape his persecutors."Les tricheurs" was his first attempt in that direction and it wasn't bad.But "trois chambres à Manhattan " hit rock bottom.A vague Simenon adapted screenplay ,a dirty cinematography,two prestigious actors and he might think the job was done.But he tried so hard to sound like the big boys of the new wave pack that he became some kind of caricature of it.Maurice Ronet tried here to do a second "feu follet" (Louis Malle) and his relationship with Girardot was so uninteresting that weren't it for the actors one would give up after fifteen minutes.Most of the time,it's an endless dialogue between the two leads who get the lion's share on the screen.Genevieve Page,for instance ,is hardly given five minutes in the prologue.The same goes for Roland Lesaffre's implausible pilot.

That was bad ,but Marcel Carné was to sink even lower afterwards.You'd better go back to those 1936-1945 years ,when he was at his peak.

Here we have the French understanding in an American environment more specifically Manhattan, a unexpected meeting between a disillusioned man stumble in a desperate woman in a restaurant, they stayed together all night long, drinking, chatting and later making love in her rented room, both trying to support by themselves, walking in the morning, knowing each other, at night more drinks and jazz sounds, sad songs, suddenly he invites her to living in his apartment nearby, a abetting will slowly taking shape and the turning point appears without warning, she has to travel to Mexico to visit her young daughter, who is will be surgery, this fact may can change everything, Marcel Carné developed an bohemian lifestyle on at dark Manhattan, which provides a perfect place to lost souls looking for something, interesting picture in slow pace, however never bother anyone, the ending is fabulous, a true kind of matter of the existentialism that grab everyone sometimes soon or later at mid ages !!

Resume:

First watch: 2019 / How many: 1 / Source: DVD / Rating: 8.5

I've just seen this film and can find only one user comment which is negative in the extreme. Working with writer Jacques Prevert in the 30s Carne invented the concept of poetic realism when Tennessee Williams, who went on to exploit it, was still learning that it's i before e except after c. Prevert-Carne titles like Quai des brumes, Le jour se leve, les visiteurs du soir, les enfants du paradis are timeless.Their partnership ended when their first post-war effort, Les Portes de la nuit, bombed at the box office. Tho familiar with the Prevert-Carne films Carne's post-Prevert titles are elusive which is why I was glad of the chance to see trois chambres. Tho it misses the Prevert touch - as does Hotel du Nord for which Prevert was not available - it is still a worthwhile effort. Annie Girardot - still going strong 40 years later, I saw her on the Paris stage last year in the one-woman 'Madame Marguerite' for which she picked up the Moliere as Best Actress - is always worth watching and Carne still manages to create a mood light years away from anything being produced today. For cavillers the use of the very French soup-bowl size coffee cups is incongruous in Manhattan but otherwise a very creditable effort.