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6.8/10
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Agrega una trama en tu idiomaA French fugitive arrives in Genoa, where he becomes entangled with an Italian woman and her daughter.A French fugitive arrives in Genoa, where he becomes entangled with an Italian woman and her daughter.A French fugitive arrives in Genoa, where he becomes entangled with an Italian woman and her daughter.
- Dirección
- Guionistas
- Elenco
- Premios
- 4 premios ganados y 1 nominación en total
Agnese Dubbini
- La patronne de l'auberge
- (sin créditos)
- …
Claudio Ermelli
- Le curé
- (sin créditos)
- …
Fulvia Fulvi
- Laura, la petite voisine
- (sin créditos)
- …
Giuseppe Garello
- Il custode
- (sin créditos)
Opiniones destacadas
10clanciai
Jean Gabin in a typical role of his, is a stowaway on a ship arriving in Genoa, a Frenchman on the run from what appears to have been a terrible crime, but in old Genoa he meets Isa Miranda who works in a trattoria and takes care of him out of pity, but gradually she falls in love with him. She has a daughter, and they are persecuted by her former husband. There is a typical noir love drama in the bombed ruins of Genoa with only one possible outcome, but at least there are some dreams allowed on the way. Her daughter plays an important part through the whole film and at times appears as the lead indeed, but Isa Miranda is the one you will remember for her beauty and excellent acting. You can always rely on Jean Gabin, he is always the same, but most striking of all are the sets among the old harbour quarters of Genoa with its ruins. It reminds you of "The Third Man" and other post war films like that with very emotional moods throughout, and this film could hardly have been made more beautiful in its neorealistic strictness. You will love it from beginning to end, and when the end comes it will not be a surprise, but like Isa Miranda and her daughter and Jean Gabin himself you will just accept it as something of a naturally fallen curtain.
Although highly regarded at the time, it also has to be one of the most easily forgotten French films of the late 1940Õs.
This gritty, neo-realist tale set in post-war Genoa is a vehicle for the two stars, Isa Miranda and Jean Gabin , but is bereft of compelling dialogue or dramatic content.
The story line is sparse: Gabin, on the run for murdering his lover in France, disembarks at the port of Genoa seeking treatment
for a toothache. He encounters a young girl, Vera Talchi, who helps him find a dentist. After being pick pocketed, he meets, Miranda, the girlÕs mother, who serves him a meal at the trattoria where she works.
Quickly they become attracted to each other, she takes him home and they fall in love. The daughter becomes jealous of the new relationship. Meanwhile, the police began to close in on Gabin.
Rene Clement, better known for Purple Noon and is Paris Burning, scored not only the Best Director award at Cannes in 1949 but also an honorary Oscar for Best Foreign Language Film in 1950. In addition, Isa Miranda was named Best Actress at the Cannes Festival..
This gritty, neo-realist tale set in post-war Genoa is a vehicle for the two stars, Isa Miranda and Jean Gabin , but is bereft of compelling dialogue or dramatic content.
The story line is sparse: Gabin, on the run for murdering his lover in France, disembarks at the port of Genoa seeking treatment
for a toothache. He encounters a young girl, Vera Talchi, who helps him find a dentist. After being pick pocketed, he meets, Miranda, the girlÕs mother, who serves him a meal at the trattoria where she works.
Quickly they become attracted to each other, she takes him home and they fall in love. The daughter becomes jealous of the new relationship. Meanwhile, the police began to close in on Gabin.
Rene Clement, better known for Purple Noon and is Paris Burning, scored not only the Best Director award at Cannes in 1949 but also an honorary Oscar for Best Foreign Language Film in 1950. In addition, Isa Miranda was named Best Actress at the Cannes Festival..
Coming just after "les maudits" ,perhaps René Clément's best film -and of course totally overlooked-,"Le mura di Palapaga" aka "Au-delà des Grilles" displays the same respect for the audience as far the languages are concerned.Italians speak Italian between them,and Gabin speaks French with Isa Miranda.There the comparison ends.
For "Au Delà-des Grilles" highly praised at the time, lauded far beyond its station,and incomprehensibly awarded at the Festival de Cannes ,has not worn well.The screenplay borrows lots of ideas from "Pépé le Moko" ,Duvivier's masterpiece (1937) and the atmosphere tries to capture that of the Italian neo-realism .Gabin does not seem to be interested in his part -he had played this kind of role of the good-guy-with-policemen-hot-on-his-heels many times before ;outside "Pepe" there 's also "La Bandera" "Quai des Brumes" "Le Recif de Corail" ,etc.Isa Miranda is the stand-out but in that context,it does not mean much.Try to see "les Maudits"!
For "Au Delà-des Grilles" highly praised at the time, lauded far beyond its station,and incomprehensibly awarded at the Festival de Cannes ,has not worn well.The screenplay borrows lots of ideas from "Pépé le Moko" ,Duvivier's masterpiece (1937) and the atmosphere tries to capture that of the Italian neo-realism .Gabin does not seem to be interested in his part -he had played this kind of role of the good-guy-with-policemen-hot-on-his-heels many times before ;outside "Pepe" there 's also "La Bandera" "Quai des Brumes" "Le Recif de Corail" ,etc.Isa Miranda is the stand-out but in that context,it does not mean much.Try to see "les Maudits"!
Considering it won an honorary Oscar in 1949(before the category of Best Foreign Flm became a competitive affair) and garnered awards for both director René Clément and actress Isa Miranda at Cannes, the subsequent neglect of this film is indeed mystifying.
Its critical success was not reflected in box office returns however, perhaps because the public did not want to be reminded of post-war austerity.
I have revisited this film on a few occasions and it never fails to move me.
Gabin's career seemed to be in free-fall at this time before Jacques Becker came to his rescue with 'Touchez-pas au Grisbi'. His air of world-weariness, no doubt influenced by his war service, suits the role perfectly. Gabin was certainly no stranger to characters pursued by implacable Fate but this is his final appearance in such a role.
The performances that haunt however are those of Isa Miranda and fifteen year old Vera Talchi as mother and daughter. Miranda would never again to my knowledge be gifted such a part and she is absolutely wondrous. Her chemistry with Gabin is palpable. Talchi was a great find but her career thereafter did not alas amount to much apart from playing the love interest in the first of the Don Camillo series. What a pity.
This and his films 'Battle of the Rails', 'Forbidden Games' and 'Gervaise' guarantee Clément a place in the Pantheon of great directors. Roman Vlad has written a powerful score and the images by Louis Page of war-torn Genoa add to the film's neo-realist feel.
Visconti maintained that the most important thing on screen is to portray the burden of being human. Clément's film certainly fulfils that criterion in no uncertain terms.
Its critical success was not reflected in box office returns however, perhaps because the public did not want to be reminded of post-war austerity.
I have revisited this film on a few occasions and it never fails to move me.
Gabin's career seemed to be in free-fall at this time before Jacques Becker came to his rescue with 'Touchez-pas au Grisbi'. His air of world-weariness, no doubt influenced by his war service, suits the role perfectly. Gabin was certainly no stranger to characters pursued by implacable Fate but this is his final appearance in such a role.
The performances that haunt however are those of Isa Miranda and fifteen year old Vera Talchi as mother and daughter. Miranda would never again to my knowledge be gifted such a part and she is absolutely wondrous. Her chemistry with Gabin is palpable. Talchi was a great find but her career thereafter did not alas amount to much apart from playing the love interest in the first of the Don Camillo series. What a pity.
This and his films 'Battle of the Rails', 'Forbidden Games' and 'Gervaise' guarantee Clément a place in the Pantheon of great directors. Roman Vlad has written a powerful score and the images by Louis Page of war-torn Genoa add to the film's neo-realist feel.
Visconti maintained that the most important thing on screen is to portray the burden of being human. Clément's film certainly fulfils that criterion in no uncertain terms.
A criminal, played by Jean Gabin is on the run, and no spoilers but he gets stranded in Italy, in Genoa which is still coming to terms with the aftermath of the war. Rene Clement who had not yet directed ' Les Jeux Interdit ' arguably his masterpiece, with ' Le Mura di Malapaga ' which uses both the Italian language and the French language. Visually it is stunning and full of people coming to terms with the inevitable desolation around them. He meets Isa Miranda, an abused wife, and a relationship begins. Their struggle to attain happiness in the ruins around them is the core of the film, and although I do not count this as particularly Neo-Realist or Film Noir it is ultimately a dark vision of life set in dark times. Isa Miranda stands out as being one of Italy's finest actors and gives a performance which will linger in my mind for a long while. There is one superlative scene where she is bought a glamorous dress that is deeply moving, because probably this is one of the few times in her life that she looks and feels literally transformed by happiness. I am not so happy about Jean Gabin as I feel he going through the acting motions, having played fairly similar fatalistic parts before, and does not quite inhabit his role as Isa Miranda does. A very good film, and well worth seeking out.
¿Sabías que…?
- TriviaVera Talchi's debut.
- Citas
Pierre Arrignon: [to a Monk asking for a donation] I'm broke.
Monk: As long as there is good...
Pierre Arrignon: But there isn't any.
- ConexionesFeatured in Le ciné-club de Radio-Canada: Film présenté: Au-delà des grilles (1956)
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Detalles
- Tiempo de ejecución
- 1h 44min(104 min)
- Color
- Relación de aspecto
- 1.37 : 1
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