Boudu sauvé des eaux

..sorry from the river.but it's important to bear in mind that Boudu is a metamorphosis of Legrand,the hero of Renoir's precedent work "la chienne" ,who became a tramp at the end of that movie.And like Nana in Renoir's eponymous silent movie adapted from Zola,he rose from the waters ("sauvé des eaux" is the exact meaning of the name "Mosis")to shake the well meaning bourgeoisie.A bourgeoisie where a piano is in the house because you must have one even if you do not play the piano. Almost thirty years before Luis Bunuel ("Viridiana" 1961) ,Renoir denounces the bourgeois charity ,which is a great weight off our guilty minds.Boudu is revolutionary,like Moliere's "Tartuffe" ,he squeezes Lestingois dry,but he knows from the start he will not be part of them .He refuses conventions,marriage is the worst of them all.These final sequences ,where Renoir made the best use of "blue Danube" I know (with Kubrik's "2001",but in a diametrically opposite way),are the key of the movie.Boudu looks like,at the end of the movie, like some distant cousin of Charlie Chaplin ,but a Chaplin who would have discovered cynicism.

Needless to say,"Boudu" would not be "Boudu" without Michel Simon's extraordinary presence.Such an actor does not exist anymore in French contemporary cinema.And his filmography is full of treasures.To think that he also worked with Duvivier,Carné,Clair,Decoin and so many more..

Remakes "down and out in Beverly Hills" with Nick Nolte and Bette Middler. "Boudu" ,by Gérard Jugnot,this very year. Are they necessary?

This is a difficult film to review succinctly. I didn't really enjoy it, but the film is well-made, well acted, and the underlying message is still poignant. At the time, "Boudu Saved from Drowning" was quite controversial, with Michel Simon's portrayal of the antisocial, uncompromised tramp (Boudu) inciting audiences to actual riot. (In fact, the film was apparently pulled from theaters by French police several days into its screening). Essentially, "Boudu Saved from Drowning" is an attack on liberalism, as well as a sort of black satire about societal class differences. Through their interaction with Boudu, a stereotypical Burgeouise family showcase the consequences of liberal idealism, as their efforts to help and reform Boudu all backfire unpredictably. Boudu is an irredeemable, unchangeable, and uncompromised outsider and he is happy as such. In the words of Jean Renoir, "...Micheal Simon was more than a tramp. He was the personification of all tramps." In other words, the lower class. Michel Simon does a great job with the part and the Boudu character is memorable. However, the rest of the characters are unlikeable (e.g. a perverse, overweight philanderer; his unabashed housekeeper mistress, a caustic wife, etc.) and the film's narrative is just, well, stuffy. I'd probably appreciate a film like this much more at 60 than I do at 30. For a film from 1931, "Boudu" does seem pretty fresh and the print looks terrific. Nonetheless, I didn't find "Boudu" very engaging. I can't recommend this one. ---|--- Reviews by Flak Magnet

While filmmaker Jean Renoir is usually considered among the most influential French directors of all time, it is common to find that discussions on his work tend to focus around his late 30s work, particularly in his movies "La Grande Illusion", "La Bête Humaine" and "La Règle Du Jeu". This is not really surprising, as those three are arguably Renoir's best films, however, while probably not as outstanding as those three, the rest of his work is of a consistent quality and of great importance for those interested in French cinema. This is specially true for his earlier movies, where Renoir was still developing his own technique and with it the style that would influence French cinema for generations. The 1932 comedy "Boudu Sauvé Des Eaux" is a perfect example of this, as while not really one of Renoir's best films, it is an enjoyable movie that is miles ahead most movies of its time.

"Boudu Sauvé Des Eaux", which literally means "Boudu Saved from the Water" is better known in English as ""Boudu saved from Drowning", as it is the tale of a tramp named Boudu (Michel Simon), who disenchanted with life after he loses his dog, decides to jump into the river Seine hoping to die. But Boudu's plan fails as he is saved by a gentle bookseller named Edouard Lestingois (Charles Granval), who after reviving him decides to "adopt" the tramp in his family, with the hope of making a good gentleman out of the bum. However, Boudu proves to be a difficult case, as with his lack of manners and wild anarchism shakes the lives of those living at Lestingois house, causing a mess everywhere becoming the terror of Lestingoi's wife Emma (Marcelle Hainia) and a source of constant frustration for Edouard Lestingois himself.

Based on a play by René Fauchois, "Boudu Sauvé Des Eaux" was adapted to the screen by Renoir himself and the then-newcomer Albert Valentin, whom certainly took advantage of the different possibilities that cinema offered to expand on the anarchic humor of the play. As one can imagine, the source of most of the movie's comedy lays in the social differences between Boudu and the Lestingoi family, making fun the bourgeois values of French society without mercy and surprisingly, void of any moralist stance. It is a very modern movie in this aspect, as without any pretensions or false sentimentalism (he makes sure of not making Boudu a hero) Renoir makes a poignant social commentary that is as clever as it's funny. The excellent development of his assortment of characters is the icing of the cake in what truly is one of Renoir's best screenplays among his early works.

As written above, in his adaptation of "Boudu Sauvé Des Eaux" director Jean Renoir looked for a more cinematic approach to the play, avoiding the use of sets almost completely and shooting on location as much as possible. This use of natural landscapes and real locations, together with Renoir's smooth and skillful camera-work create a sense of realism that later would become Renoir's trademark. Giving excellent use to Georges Asselin' cinematography, Renoir uses everyplace he can as a stage for his film, literally taking us along with Boudu in his adventure inside the Lestingois house. This wasn't the first time Renoir worked this way, but "Boudu Sauvé Des Eaux" was a further development of this style, a technique that would find its higher point in the three masterpieces he made later on that decade. While not one of his classics, many of Renoir's trademarks can already be seen here.

One of the elements that make "Boudu Sauvé Des Eaux" so enjoyable is definitely the acting, as everyone in the cast is simply excellent. The highlight is of course the legendary Michel Simon, who as Boudu, delivers one of the best and funniest performances in his career. With delightful malice and a good dose of cynicism, Simon makes Boudu a complex character that can go from being the most sympathetic antihero to the most despicable human being in seconds, and always without losing that charm that helps him to carry the film. As the Lestingois couple, Charles Granval and Marcelle Hainia are certainly playing caricatures, however, with extraordinary talent these two actors make the most of their characters, making them more complex and very vivid. Finally, Sévérine Lerczinska makes a terrific scene stealing performance that makes one wonder why did her career on film was so short.

While a harsh critique on the self-righteousness of the French bourgeoisie and the differences between classes (often compared to Chaplin's work), Renoir never intends this to be a moral lesson, as unlike what happens in Chaplin's films, neither Boudu is completely good nor Lestingois is completely bad. Instead of the classic "rich = bad, poor = noble" archetypes, "Boudu Sauvé Des Eaux" shows a very natural balance between both social classes, making fun of the clash of both without sentimentalism and with subtle malice, as if Renoir was stating that neither are exactly good. Even when "Boudu Sauvé Des Eaux" and its style of anarchic humor may look dated now, the movie is still very fun to watch. It isn't a masterpiece of cinema, but still holds up today, more than 70 years after its release.

Lighthearted but clever, "Boudu Sauvé Des Eaux" makes a nice introduction to the work of Jean Renoir as it has many of the elements that would become the basis of his work but under a simpler, friendlier facade. "Boudu Sauvé Des Eaux" may look a bit slow and dated nowadays, but it's still as valid as ever and an excellent example of French comedy of the 30s. A very recommended film. 8/10

Some lightweight, Chaplainesque stuff from Jean Renoir. This is the story of a tramp who tries to kill himself and is rescued by a lazy, unmotivated bookseller. Apparently, the rescuer now feels an obligation to provide a home for this hopeless man. Instead of showing gratitude, Boudu takes advantage of everyone, projecting his coarse being in every direction. He seduces the man's wife, spits on the floor, floods the house; you name it. He also gets a dose of civilization and finds it a two edged sword. Michel Simon is awesome in the role, bumbling through life. It's hard to imagine him having enough angst to commit suicide (maybe he was just taking a bath or going for a swim anyway). This popped up as a treat on Turner Classic Movies and I was immediately hooked. I've seen most of the "big" films of Renoir. This little piece is a classic as well. See it if you can.

It's a movie with some more subtle humor but nevertheless it's not really a movie that could ever make me laugh, which was mostly because due to Michel Simon his very over the top portrayal of the tramp Boudu. You know, the kind of performance in which he plays his character constantly in a drunk way in an attempt to make him look funny. Also his look is far from convincing, with his fake looking beard and big wig. Hello afro! It just isn't the best or most likable character imaginable. When it comes down to French comedy from the early days of cinema ('20' and '30's) this really isn't the best the genre has to offer. For instance you're way better off watching a René Clair movie.

The movie can be seen as a social commentary to the French bourgeoisie and difference between classes. It's this element mostly that makes the movie an interesting watch. No denying that Jean Renoir was a great director who knew how to set up a story and scenes. He also always gets his point across, without having to force too much. Like always, he also in this movie uses some interesting sequences that have deeper meanings to it and the movie is filled with some metaphors.

As you could expect from a Jean Renoir movie, it's also technically a good one. The movie features some interesting camera-shots, which must have also been really original and revolutionary for its time. The editing isn't always too great however.

Not Renoir's best but it's an enjoyable enough little movie.

7/10

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