Le quai des brumes

Pauline Kael labeled Marcel Carne's work in the 1930s as the "definite example of sensuous, atmospheric movie making" and it seems that this characteristic emerges most powerfully here.

The opening sequence of PORT OF SHADOWS, thanks to the memorable tracking shot and stylized mise en scene - a typical hallmark of the director, set the tone for the story and provide the feeling to it: we see a road and a man fleeing his past. What preceded and what follows is of no significance, what counts is here and now. Jean (Jean Gabin) is heading for a new haven of his life. He stops at spots which he had not intended to set foot in and meets people who he had not planned to know. Yet, nothing and nobody coincide with the doomed fatality of his situations. Even if there is hope, it is doomed... Yet, in all this hopelessness, the viewer is struck by truly great surprises not likely to be skipped.

COLLABORATIVE EFFORT: The author of the article in Senses of Cinema does not deny the powerful influence of the director on various people of cinema, including Visconti, Reed and Bergman. What, however, seems to be most striking is the fact that PORT OF SHADOWS is simultaneously an individual vision and a common work --- the director's "most coldly formal work," and "the very DNA of French classical film-making" where "a confused soul" and "an obstinate cineaste" (Carne according to Francois Truffaut) makes his "romantic and fatalist mode of address" (Senses of Cinema) particularly clear. It is achieved thanks to great collaborative effort, the director's production designers, composers, actors and cinematographers. But there is one primordial strength that seems to emerge almost throughout the movie, the very product of the period: ATMOSPHERE

STIMULUS ON SENSES: No wonder Frank S Nugent, a New York Times reviewer observed that "there is a bitterness even in its humor." That is best revealed in the supporting character of the painter who says one of the lines that the greatest 'nostalgic prophets of doom' would probably most agree with: "When I paint a tree, I make everybody ill at ease. That's because there is something or someone hidden behind that tree. I paint these things hidden behind things. For me a swimmer has already drowned." That feeling resembles the very essence of provoking cinema we are all much more used to at present. As a result, PORT OF SHADOWS creates a unique atmosphere and is still one of these movies that are forever stamped in viewers' memories.

ITS FOGGY ECHOES: Within the restored DVD version, Ginette Vincendau rightly points that Carne's film is heavily influenced by German Expressonism and serves as a gateway to the noir genre so widespread in American cinema since the 1940s. The obvious echoes of the predecessor are noticeable throughout in the cinematography by Eugen Schueffen and the aspects hidden within the portrayals of characters. Fog is the predominant concept of the movie and serves as a clear allegory of the characters and their lives. Yet, despite all the uncertainty, all the disappointments, all the confusions they experience, it is far in spirit from older Bergman or dramatic Visconti. The idea of loving one's life predominates. Certain predictability in the action (we actually feel from the very start that the protagonist is doomed to fail get on board a ship to Venezuela) does not interrupt this very crucial concept. And the PERFORMANCES?

JEAN GABIN gives a brilliant portrayal of the protagonist, a deserter heading for a more stable life. In his role, what appears pretty obvious is the fact that he is already disillusioned with life in need of some dramatic change. However, there is a certain duality in his character that makes him particularly humane. He is skeptical of true love and yet, never stops searching it. He doubts success in escaping and yet, he does not resign from attempting. Within the context of other male characters that appear in the movie, he is easily to be identified with and quite likable for viewers who are truly not content with some less 'sophisticated' depictions of a human being.

As a centerpiece of his and our attention comes Nelly played memorably by beautiful MICHELE MORGAN. A very pretty and skillful actress makes her 17 year-old character unforgettable (mind you her age must have prompted objections from 'perfectly moral audiences' at the time). A young woman torn apart between two men: one is a miserable villain Zabel (Michel Simon), her stepfather clearly lusting for her, the other is Jean (Jean Gabin). While the growing chemistry between the two occurs to evoke powerfully with excellent closeups and perfect romantic atmosphere, her first conversation with Jean is filled with some excellent lines. Kudos to screenwriter Jacques Prevert! One of their best lines highlights the quintessential concept of sexes' relations: "men and women do not understand one another and yet love one another." Much due to the wonderful collaboration with the camera, Ms Morgan is truly an unforgettable female character. She combines the dramatize of Garbo with eroticism of Dietrich in a performance of her own.

SUPPORTING: Pierre Brasseur does a fine job combining the cruel and ridiculous aspects of Lucien, such a predictable villain of romantic stories who, naturally, spoils everything. A little dog that makes friends with the protagonist is also worth mentioning.

A strength of the movie not to be skipped is its pace. The action really keeps you awake, curious, attentive. Scenes are finely paced and action develops in a right manner. That is something that makes PORT OF SHADOWS stand out among many other films of its period.

PORT OF SHADOWS, no matter if you like its content or not, is a significant production and an interesting glimpse into a true French classic. In spite of being a rendezvous of sorrows, it is a passionate kiss of French Poetic Realism. 8/10

I've just seen Port of Shadows for the first time in my life, and I must say I really liked it. I'm already a great admirer of old black & white pictures, and I enjoyed The Great Illusion as well. This one is rather different from Illusion, though from the same era and also with Jean Gabin as the quintessential Frenchman. It's hauntingly sad, quietly emotional, and even if it's a bit dated in some places (the pathetic hood played by Brasseur) it still manages to creep up on you and leaves you absorbed with the motifs of human loneliness and the not unreasonable, but ultimately impossible human dream of happiness. So it's not a laugh-riot, and you don't leave the cinema with a happy feeling, but you do feel good about having seen it. It's a masterpiece in French cinema history, Jean Gabin is ideal as the tough-as-butter soldier with a doomed soft spot for Michéle Morgan's beautiful waif, and in the end all you remember is the quiet mists of Le Havre harbor, and the sense of ill-fate and lost chances. Not to mention the beautiful eyes of a very young Morgan!

When I was young this is what I used to call a "bulger", the first time I saw it when 18 years old I was so impressed by the bulging murky atmosphere, and the over-riding sense of doom pervading the film I thought it couldn't be bettered. Then I read up on Warner Bros. techniques for their best "atmospheric" potboilers such as The Big Sleep and realised it was, as usual, all down to saving money. LQDB is nearly completely studio-bound, therefore the fogs, darkness and even excessive cigarette smoke all came in useful in disguising the limitations created. In this case however the limitations are deliberate as it is the crux of the story, the elemental mist at Le Havre and Man's mental mists playing havoc with lives.

Not surprisingly, plenty of erudite praise has been showered down on LQDB over the years. Essentially it remains only a entertainingly depressing adult yarn, with a straight-faced storyline coupled with some gloomy and gleaming but pleasing black and white photography. I think Renoir called it fascist in a patriotic outburst; for Carne to get past the disapproving censor Gabin couldn't even be called a deserter in the film (although his one night stand with Nelly was cheerfully depicted). Needless to say, this has probably led to some confusion over the years as to why Gabin is on the run (more like stroll) anyway! Anyway, Fascism and fascism are both dark and depressing for the majority of us so that would make LQDB a faithful representation!

This was the 2nd of Carne's classic 6 consecutive films, culminating in 1945 with Les Enfants Du Paradis. To my mind the quality of this series remains unsurpassed in world cinema - unless you can think of another director who made 6 timeless classics one after another? All subjective, of course!

Nevertheless, one of my favourite films, not to be watched too often but always an effective antidote to the real world. Next: Hotel Du Nord.

I know, I know, this isn't film noir, it's 'poetic realism.' Fine with me, but it's still an early example of noir to me. And while this film has many strong points, it's very easy to overrate it. For one thing, it's totally predictable. If you haven't figured out by the halfway point what's going to happen to the Gabin character, you just haven't been to very many movies. For another, the first half of the film is disjointed and just plain dull. However, after the halfway point it begins to pull itself together and ends up working rather well.

On to the strong points. Gabin is, well, Gabin. He is one of those rare screen presences who is watchable and enjoyable in anything. And Michele Morgan, who I don't recall seeing before, is beautiful, magnetic, and riveting. It's hard to believe that she was only 18 when she played in this film. And the tone of the film--downbeat, mildly depressing--is a healthy antidote to the relentlessly upbeat Hollywood productions of the time. And the downbeat tone is probably much more appropriate to 1938 as well.

Some reviewers have criticized the sets. Personally, I think they worked. This film worked very hard to create an atmosphere, and for this the sets were perfect.

The film was also daring for its time, although perhaps not for the French. The Morgan character is strongly hinted to be a woman of easy virtue and, at a time when Hollywood was plagued by the Hayes code that prohibited even a hint of sexuality, there is a very obvious 'morning after' scene in which it is obvious that the Gabin and Morgan characters checked into a hotel room and spent the night together. There is even a scene after the morning after scene in which it is obvious that they are about to go at it again; Gabin grabs Morgan, they embrace and start to fall on the bed, and the scene fades out. Moreover, in an era when such things weren't even hinted at, there is a subtle suggestion that Morgan's godfather/caretaker may have molested her, and there is a less than subtle suggestion that he lusts for her. In these senses the film was way ahead of its time.

Definitely worth seeing. 8/10

Jean Gabin and Michelle Morgan star in the stylish Marcel Carne film, "Port of Shadows," made in 1938. There is simply no one like Jean Gabin - Hollywood had no idea what to do with him - here he was, this amazing leading man who looked like a character actor. Thankfully, the French knew what they had and kept him busy for 48 years.

Gabin plays Jean, a military deserter who comes into the French port of Le Havre, intending to leave aboard ship for Venezuela. He meets the beautiful Nelly and is adopted by a small dog. Nelly is a real man magnet; she has a boyfriend Maurice, a father figure who is in love with her named Zabel, and Lucien, a hood in love with her. She and Jean fall in love, even though in her heart she knows that he has to leave Le Havre.

These French films out-noir American film noirs, and this is a stylish, dark film filled with sadness, with a depressing ambiance throughout. If you were miserable when you started watching it, you'll be a mess when it's over. What I've gone through for Gabin - he was in so many dark, depressing films! If you're a fan of film noir (and/or Gabin), this is for you.