Hôtel du Nord

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.

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.

"Hôtel du Nord" is a romantic-comic drama cloaked in poetic realism, beneath which lies a delicately woven tale of love, disappointment, and solidarity, wrapped in a veil of melancholy.

The story leads us to a modest hotel along the Canal Saint-Martin, where residents have gathered to celebrate a child's first communion. Among them is Raymonde, a prostitute, whose pimp Edmond stays in their room to develop photographs he had taken earlier. At that moment, a young couple, Renée and Pierre, arrive and rent a room for the night. They don't join the others - instead, they are planning a double suicide, unable to afford marriage or a home of their own. Soon after, Renée picks up a pistol... and a shot is heard.

Director Marcel Carné blends melodrama, humor, romance, and crime within the intimate setting of the hotel. The plot unfolds in a microcosm of marginalized lives: artisans, courtesans, petty criminals, and eternal idealists. Carefully composed shots and fluid camera movements create a sense that the viewer, too, is a guest at the hotel.

For the film, both the canal and hotel were recreated in a studio, adding to the dreamlike atmosphere. Rain, fog, and shimmering reflections in the water serve as enchanting visual motifs. The dialogue is tinged with irony and filled with layered, double-edged lines that echo the poetry of street life.

Thematically, the film aligns with the poetic realism of its time - the protagonists grapple with love, trust, solidarity, and loneliness. Carné often aims hopeful, sunlit arrows at his characters, but they dissolve into the grayness of reality before reaching their targets.

Annabella plays Renée - a gentle, emotional, yet dignified young woman, caught in the web of circumstances and rash decisions. She continues to fight and to hope. Her character balances delicately between shame, gratitude, and longing for love and a home. She is not passive, but the warmth she brings remains subtle, even elusive.

Jean-Pierre Aumont's Pierre is a youthful idealist, lost from the very beginning. His character sways between despair and youthful fervor that borders on madness. Pierre embodies the idea of immature or impossible love - and perhaps that's why his shadow lingers even after he disappears from the story.

Louis Jouvet's Edmond stands as the film's most dominant presence. A man with a turbulent past, he's seen too much and now longs for peace, weighed down by melancholic fatigue. A seasoned realist, Edmond still makes room for tenderness and love - until the narrative leads him back to the antihero's path so typical of poetic realism.

Arletty shines as Raymonde - the quintessential Parisian courtesan: bold, witty, brutally honest, yet warm and smiling. Beneath her sarcastic humor lies a profound emotional core. She's a woman of the margins, determined not to be overlooked or forgotten.

The supporting cast provides strong backing to the leads and enriches the hotel's small world.

In the end, Hôtel du Nord is a bittersweet story of everyday life - a portrait of ordinary people balancing on the edge of class and survival, without grand dreams but with immense hearts. Devoid of dramatic twists or lofty philosophies, it quietly reflects the fight for dignity in a world that seldom offers much. It's a stop worth visiting for anyone traveling the railways of world cinema - especially those who like to linger on the platform of poetic realism.

Over the banks of Canal St Martin in Paris, there is "Hotel du Nord", a creation of novelist Eugene Dabit, dialogist Henri Jeanson and director Marcel Carne, a purgatory for the past sins, a lost station where people can relieve themselves from the burden of the pasts, as the weight of luggage thrown on the bed. There's something oddly definite in a hotel room, everyone stays, but some just don't want to be reminded they'll have to go, sooner or later.

The film opens with people celebrating a communion and the atmosphere (beware, this is a word you'll often find in this review) is cheerful with people joking about cops and religion. There is the local lock keeper who takes some pride from regularly giving his blood while he should be more suspicious about the kind of services his very wife provides, she seems to be too much of a good public for the local womanizer but Bertrand Blier in his earlier years of good-natured cuckolds' roles, fails to see it. There is an adopted Spanish kid goes to his mother's arm because the thunder reminds me of the Civil War's bombing, What this dinner with its gallery of colorful characters shows is that, in the interwar period, people took life as it came, at times enjoyed it but some didn't find reasons to find enjoyment, and the past had a lot to do with it.

The film centers on two couples, starting with Raymonde (Arletty) and Monsieur Edmond (Louis Jouvet) who're not "at the party", which literally in French, means that they're far from this universe and don't care about it. In all fairness, Raymonde seems to care about people, she is enthusiastic and welcomes the little girl who brought her a piece of cake, her companion, the grouchy Edmond asks why he doesn't have one. We suspect he couldn't care less and only needed a reason to complain, he's a man who won't let one smile slip from his face, maybe because life plays like a succession of thunders reminding of previous bombings. He eats, he drinks, smokes, practices his hobby which is photography, but inside, he's dead. Raymonde lives and smiles for two, she join the guests and lets her man alone. We'll find out later that they had a past that partly explains their opposite natures.

The other couple is Renee and Pierre (Annabella and Jean-Pierre Aumont), they're young and good-looking and they're ready to commit suicide, they just lost it, they don't trust the world anymore and 'Hotel du Nord' was the edge of their lives, like "Romeo and Juliet", they're dying together. Their dialogues are sentimental and almost too theatrical, contrasting with the lively slang of Arletty and Jouvet and the film takes a weird dark melodramatic turn until we hear a 'bang'. When Edmond gets in the room, he finds Renée lying in the bed and her lover who didn't have the guts to pull the trigger for him; Edmond lets him go and calls the Police. Renee survives but in her act of death, she gave Edmond a reason to live. There's no shortage of ironies in 'Hotel du Nord' and this one is the most poignant.

Edmond find someone unhappier than him and realizes very soon that he can't stand Raymonde. This leads to the iconic moment of the film, one that might be lost in translation, but that can't be ignored due to its resonance in the history of French cinema. Edmond planned to travel with Raymonde then he gave up; realizing that the problem isn't in the destination but the company. He's suffocating with Raymonde, he needs to change his atmosphere, which she is. Now, can you even describe an appeal that all lies in the thick Parisian accent of Arletty who finally has her rebellious moment, tired of her companion's tantrum and shouting "Atmosphere? Atmosphere! do I look like an atmosphere?" This is a line that has the same resonance as the 'Waterfront' contender speech or 'You talking' to me?' It came to the point that people would see the film because of this line they generally heard of before even seeing the film.

Does the line capture the spirit of 'Hotel du Nord'? Yes and no. No, because it wasn't meant to, the word doesn't carry any particular meaning, it just transcended itself in the mouth of Arletty, proving that cinema works in mysterious ways, any quote can become legendary just because it has the right accent, intonation and actor to deliver it. And yes, because this is a key word when you think about it, it's all about the atmosphere where we can find life more livable. The film opens with many couples, some stay the same, some break up and get back together, some live, some try to travel but then realize they have more to lose in leaving and some are tied to other people and can't do any move without them.

Arletty and Jouvet are the two driving forces, the yin and the yang, the woman whose heart is like a window opening to welcome the glow of the morning and the man who lives in perpetual nighttime and realizes that there might not be an atmosphere for him. And through "Hotel du Nord", Marcel Carné proved his importance on the field of French cinema, after "Quai des Brumes" which featured Gabin as a deserter, he went for a less controversial subject, and made film about little people who wonder in the same place and try to find a meaning in their lives, without making their quest too existential, some are stuck to the past, some pray for a brighter future, and some live in the present. The following year, present, past and future will all make one: war.

So like a seeming calm before the" premonitory storm, 'Hotel du Nord' is like a fascinating conjunction of three visions of life, or let's say three atmospheres.