Carnet de baile

'Carnet du Bal' is a beautifully realised piece by one of the truly great directors and comes from the 'Golden Age' of French cinema. A film of elegance and grace but also of ineffable sadness and regret that deals with failure and the ravages of time. A rich widow comes across a dance card of a ball she attended at the age of sixteen. She decides to seek out the men with whom she danced to see how Life has treated them. None of them alas has realised his dreams or fulfilled his potential which will no doubt strike a chord with most viewers. The film at least ends on an upbeat as she adopts the son of the first man on the card who had committed suicide for love of her.The success of this film resulted in Julien Duvivier being invited to direct'The Great Waltz' in Hollywood. He would return to the multi-story format on more than than one occasion but not as effectively. The cast is pure gold and represents France's finest, the likes of whom are gone forever.

J'adore Ce film! But "Christine"? Where did that come from? I've only ever known it as Un Carnet DE Bal, with Valse Gris permanently etched into my mind.

I saw it first around 1941 when I was 14, during the war, at the long lamented Academy cinema on London's Oxford Street. It turned up there periodically, along with La Femme Du Boulanger, Le Jour SE Leve, The Strange Case of David Gray (a renamed Vampyr), La Fin Du Jour, and some other prewar classics. Great stuff for a schoolboy! Previously I've had it on a censored Korean DVD (the Marseilles sequence had been removed) but now,happily,it's available complete as a gloriously restored Bluray. Gaumont,you have our huge thanks!

It's a magnificent film, a bit wordy perhaps here and there but they're good French words. It's a lasting achievement by a superb cast and crew at the top of their game.

And with great respect let's give thought to Harry Baur and Robert Lynen (Duvivier's Poil de Carotte), both murdered by the Nazis during the occupation.

"Un Carnet de Bal" is a poem made movie. Like Christine, everybody had gone into his past, looking for the point of break, which decided one way, in order to rectify ours errors.

Finally, "Un Carnet de Bal" is a film for all the time.

i saw this film for the first time 1946, and was completely spellbound. last time i saw this film beginning of March 2003. the magic was still there. i understood the film much better,enjoed it more. Who can ever forget the haunting melody of the walz or the final episode with Fernandel.

While Godard and co were still in diapers,Duvivier,Renoir and Carné were inventing the best French cinema that had ever been. I would trade you all M."A bout de soufflé" filmography for "un carnet de bal"

Leonard Maltin gives a four stars rating to this 1937 movie,and all we can do is approve of his judgment.The movie of nostalgia,of time passing by,of disenchantment,"un carnet de bal" is all this and more.

On the banks of a lake -the romantic place par excellence-,a woman is remembering her past.Her madeleine de Proust is her dance card ."Memories tumbling like sweets from a jar".But these sweets leave a bitter taste in the mouth.

She goes back in the past,in search of her long lost dance partners. She will have to delude herself:what she discovers is ruined lives,regrets,embittered characters,human wrecks.Time is a hard Master and it leaves no one unharmed.As always in Duvivier's work,the harder they fall,the better the sketches are.For it is basically a movie made up of sketches,Julien Duvivier's métier.All youth ideals have gone down the drain:the brilliant medicine student has become an abortionist;the lawyer with bright prospects now has a lousy shady cabaret;one of the woman's beaus is dead and his mother gone nuts acts as if he's still alive.Two of them have escaped from a doomed fate:but one has become a priest and the other keeps his love for something else than women .

The movie made up of sketches ,as I said, had always been Duvivier's forte.Here ,there are seven flashbacks,one prologue and one short epilogue :strange how this final resembles that of Mitchell Leisen's "to each his own" (1942),when the boy says to Olivia De Havilland:"I think it's our dance mother".Having directed with a topflight cast "tales of Manhattan" (1942) in America,Duvivier went even further in the "sketches movie":in "sous le ciel de Paris" ,he used intertwined little stories till all these subplots became a seamless whole.

Yes ,Julien Duvivier's importance in the seventh art is incalculable.