La traversée de Paris

Marcel Aymé was an excellent writer who left us, among other things, short stories set in occupied Paris. No patriotic pathos or teary laments, but a dark humorous look at everyday life. With this movie Bourvil revived his carreer and established himself as a real great comedian. Jean Gabin, as usual, is excellent. The story line is simple : two men have to carry across Paris black market pig meat. Bourvil, an unemployed cab driver does it for money, Gabin, a well known artist does it for kicks.

"La traversee de Paris" is a brilliant and often profound blend of comedy and drama. The story is rather uncommon and told in a most anti-rhetoric way. During World War II, in Paris occupied by the Nazis, two men have to deliver four cases filled with pork meat, for the black market. They cross the city overnight, trying to avoid French cops and German soldiers, as well.

The fun is mainly based on the duets between the two "heroes", Grandgil (Jean Gabin), and Martin (Bourvil), supported by a first-rate witty script. These two characters are drawn with psychological depth. Grandgil is somehow a mysterious man. Sometimes he seems to be a sort of thug. He despises and bullies innocent by-standers. He wants to cheat and steal the pork meat, following a sort of selfish anarchism. But many clues make the viewer feel that all this should be a Grandgil's joke. On the contrary, Martin is proud to be a decent person, and to keep honest and correct even working for the black market. The unavoidable quarrels arising between the two men build a non-standard but deep friendship. Extraordinary is the actors' job. Jean Gabin is deservedly a cinema legend, and never disappoints the audience. Here the always excellent Bourvil is on a par with his great partner.

On the background we have the masterly rendered atmosphere of those bleak years. French people is oppressed by deprivations and lack of food. Patriotism and heroic resistance are far from being appreciated. People are widely depressed by French defeat on the battle-field, and just wait for the end of the war and of German invasion. The first scene sets the tone of the movie. A blind beggar plays the Marseillese with his fiddle. Martin is displeased. What's the point of vainly provoking the Nazis? However he gives a coin to the beggar. And even a German officer gives money to the blind man. As a matter of fact, German soldiers do not appear as cruel barbarians. The officer who questions Grandgil and Martin is even nice. But when something wrong happens (namely, an attack against a German colonel), then the inhuman ferocity of Nazism shows his face. And the French hostages blame the partisans for that! Meanwhile, the swashbuckler Grandgil, always ready to despise other people's cowardice, realizes that in tragic circumstances one must care only for himself and his own life. There is a lot of depth in these scenes, believe me.

It is not surprising that this excellent movie was reviled by French audiences and critics when released. This anti-heroic, even petty representation of French people at war-time, was surely hard to swallow.

A magnificent nocturnal photography and artistic camera work, together with a first-rate direction by Autant-Lara, add further value to this superb movie.

The final scene may appear somehow stuck to the movie. But it contains an important message. Life has won, life continues. Common, simple, decent people survived. Barbarians have lost, doomed to destruction by their own infernal wickedness.

"La traversee de Paris" is a gem of French cinema. Highly recommended.

The bringing together of two great comic actors of the calibre of Jean Gabin and Bourvil could not fail to be a great success, but this film surpasses the audience's expectations by several hundred kilometres. For both actors, this is a real tour de force. Bourvil is the hapless stooge to Gabin's outrageously forceful character, and the double act is unbelievably funny. One can't help but have pity for the poor unemployed Parisian as his night-time trudge across Paris is turned into his worst nightmare.

Whilst much of the humour is in the performance of its two stars (joined by Louis de Funes in that amazing cellar scene near the start of the film), the script is well-written and genuinely funny in places. The menace of the Nazi threat is there all the same, and this is heightened by the darkened sets representing a deserted Paris, resounding with the distant tread of the German patrols. The last twenty minutes of the film is a distinct contrast to what preceded it, and the humour appears to fade very quickly into drama. Luckily, our heroes emerge unscathed (possibly), but the threat of what might have been substantially changes one's view of the film.

Needless to say, when this film was released in 1956, scarcely 10 years after the end of the Second World War, it was widely reviled. It presented a view of the occupation that, whilst honest and accurate in retrospect, had never before been seen in French cinema and which was simply too much for many to stomach. Gabin's character was a particular target for scorn, representing a cynical free-thinking attitude that could only be regarded as dangerous and anti-Republican. The film's director, Claude Autant-Lara, should be credited with immense courage in presenting to the French people his perception of the war, unadulterated by the constraints of convention. That he should achieve this through one of the funniest of French films is a remarkable achievement.

Marcel Ayme's original story goes this way. Martin and Grandgil hire out to a corrupt wholesaler, Jambier, in wartime Paris. They agree to transport about 200 lbs of pork in four suitcases to a butcher who is waiting to receive this contraband (rationing is in effect, remember). Grandgil through his histrionics, increases the fee to 5,000 francs from the original 900. They encounter some fascinating and corrupt people along the way. Martin kills Grandgil at the latter's studio: he's enraged by the artist's lack of concern for the value of work and the concept of honor. Martin delivers the pork finally and is arrested for murder.

Well, you wouldn't recognize the story that Aurenche and Bost created out of this sour little saga. They have given it a happy ending. I am not going to tell you what happens to Gabin and Bourvil, but it is a crowd pleaser. I have stated my reserve about late-period Gabin in the past, but here he is terrific. The rant at Jambier's store is very funny: "Jambier, 45 rue Poliveau, my price is a thousand francs!" Bourvil is a great foil for him; he's more rational and less risk-taking than Gabin, if also less imaginative.

I guess all over the world, moviegoers know this film, for its cast and dialogues. Typical French cinema at its peak, far far better than LES VISITEURS crap made in the nineties. Jean Gabin, Bourvil and Louis De Funès - then still a supporting character, not very well known yet - are absolutely unforgettable in those fantastic roles. The story takes place in Paris, under German occupation, during WW2. You can easily watch this film without getting tired, you can watch it over and over again, you enjoy it more and more. Like a good wine, the more you wait to watch it between your movies sessions, the better it is. One scene in particula, between Gabin Bourvil and De Punès is particularily terrific and funny in the same time, a concentration of talent of the most important actors that French movie industry has ever had. An absolute must see. Claude Autant Lara's masterpiece, and best know, worldwide known film.