Los bajos fondos

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.

Strictly speaking there are two alternate ways of making an adaption. One is to adapt the original text to the screen as it was written, the other is to modernize the text completely, thus giving it a new interpretation. These extremes locate to the opposite ends of the axle loyal-disloyal. Jean Renoir's "The Lower Depths" (1936) is far from the former, though it isn't particularly radical nor a modernization. One who is interested in the loyal fashion might wish to take a look at Kurosawa's 1957 version of the same material. The original material in question is Maxim Gorky's famous play of the same name which premiered in the early 1900's.

Gorky's play is often regarded as a hallmark of socialist realism, but it lacks the unambiguous moral message which we usually associate with the style. It's a play without a formal plot, paying more attention to characters and their relationships. Renoir has changed a lot and added new milieus, scenes, and minor characters. For example, Renoir gives more space for the friendship between the bankrupt baron and the thief, probably in order to highlight his view of humanity above social borders. Overall, Renoir has taken the most interesting characters of Gorky's play and chosen to focus on their drama rather than creating a film about a cave-like milieu and its relation to its various inhabitants. It is the spectator's choice whether this is for the better or worse, but Renoir's motives seem clear: he most likely wanted to give coherence to the story and thus enhance its ethical nature.

Due to these choices Renoir's "The Lower Depths" grows into a story about a thief (Jean Gabin) who falls in love with a girl. They live in the same slum -- a typical courtyard-ish milieu for Renoir's 30's films -- with the girl's sister, the thief's former partner, who is married to the owner of the slum apartments but wants to escape her marriage. Meanwhile the thief befriends a baron who has lost his social status and is now creating a new life in the lower depths.

Gorky's story is really ideal to the French Poetic Realism, but the film has replaced Gorky's pessimism with warm romance and an optimistic spirit. To me, whether this makes "The Lower Depths" better or worse is not an interesting question. What is interesting, on the other hand, is that it makes it different. Renoir once again manages to approach themes of friendship and solidarity with an authentic yet non-sentimental perspective. The final shot, which has righteously been compared to the famous finale of Chaplin's "Modern Times" (1936), expresses faith and hope, but not in excess, precisely because Renoir's image is indeterminate enough. Or, as Luka puts it, "If you believe in it, it is real."

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.

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".

Very dark but strong drama, about a bunch of people with no faith and no hope. It's very cynical, but Jean Renoir's directions gives the movie a unique twist. Great acting by Jouvet and Gabin, and young Junie Astor.