Trois jours à vivre

1957
1h 25min

NOTE IMDb

MA NOTE

Ajouter une intrigue dans votre langueSimon Belin is an actor touring the provinces with his company. Although talented he has never been given the opportunity to shine on stage. It is always Bérimont, a matinée idol past his be... Tout lireSimon Belin is an actor touring the provinces with his company. Although talented he has never been given the opportunity to shine on stage. It is always Bérimont, a matinée idol past his best, who gets the lead roles. One day however, Simon is witness to a murder. Subjected to t... Tout lireSimon Belin is an actor touring the provinces with his company. Although talented he has never been given the opportunity to shine on stage. It is always Bérimont, a matinée idol past his best, who gets the lead roles. One day however, Simon is witness to a murder. Subjected to the pressure of justice, of his agent and of his own wish for publicity, he identifies a su... Tout lire

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Stage fright

According to the Cahiers Du Cinema theory,Gilles Grangier was a mediocre director ,cause he did not "innovate" .These hackneyed ideas do not stand up to hindsight.Cause Grangier did innovate in this movie: 1)He begins his movie with the end of a play ,with all the actors bowing to the audience! 2) The subject is eternal,still relevant today:a stage actor (Daniel Gelin)who generally plays secondary characters was a witness in a gangland killing.For him,opportunity knocks:he becomes a celebrity overnight and is given the great parts he has always been dreaming of.

3)But this nice guy is perhaps not so nice.Might it be perjury? 4)The lines the actor delivers on stage ,he could as well say them in real life ,now that the gangster he sent to jail escaped and told him he would die within three days.

Essentially a psychological thriller,where the gangsters work behind the scenes,"Trois Jours A Vivre" is a nice little flick.

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Anecdotes
Even though the Cahiers Du Cinema writers didn't like this director, it would be with this film of his, accompanying it in the program in Paris as a short, that the very first work by a New Wave director from the Cahiers group would be shown: Le Coup Du Berger by Jacques Rivette.