Gueule d'amour

Nowadays,when critics speak of Gremillon,they often mention "remorques","lumière d'été" "le ciel est à vous" (which ran into difficulties at the end of the war as "le corbeau" ,but on opposite grounds:Clouzot's work was deemed too black when Gremillon's was judged too "white" ,too "pétainiste".)"gueule d'amour" is rarely talked about.

So "gueule d'amour' is unfairly dismissed as "melodrama".Sure it is,but ,as Stahl,Sirk,Minelli and countless others have shown in America,melodrama is a valuable genre.Gabin, a good-looking legionnaire,is under a bitch's spell.This woman (Balin) dreams of luxury,abetted by an unscrupulous hateful mother.So she stalks rich preys,and Gabin,even if she loves him ,is nothing more than a pastime for her.The best scenes deal with Balin in one of her rich lover's flat ,with her despicable mama who acts as if she's at home,and Gabin's helpless attempts to make her comprehend what true love means.But it's too late,she's rotten to the core.The last part is less convincing:the M.O. of Gabin's former regiment tells his mate he's found love with a wonderful woman.Guess who she is?That's the biggest flaw of the movie and the ending is too predictable.

By and large,"Gueule d'amour" is an absorbing movie which influenced Yves Allégret .The mother character is close to Jane Marken's in

"manèges" (1949).Spiteful gossips will tell it's the same misogyny.

This film was unique on a couple of counts: 1) it clearly sanctions a crime of passion as something that does not cry out for retributive justice--it elicits sympathy for the perpetrator of the crime much more than for the victim; 2) there is a kind of male bonding between Gabin and his doctor "copain" which suggests that friendship between men can attain a measure of intimacy never possible in their relations with women--and this without a hint of homosexual eroticism. Maybe it was France of the Popular Front that made it all possible.

I never heard of this film until I saw it at a recent Gabin retrospective. I loved it, even if it is a case of directorial excess. The film would have been much more subtle if it had ended with Lucian (the Gabin character)returning to Orange and watching the new regiment of soldiers coming in, realizing that he was no longer the "lover boy." But then, it wouldn't have been as much fun.

When the film begins, Lucien (Jean Gabin) is a carefree soldier who loves the women and they sure love him. However, when he meets Madeleine (Mireille Balin), the carefree lover is instantly hooked. So, when his enlistment is over, he heads to Paris where Madeleine lives in order to woo her.

When he arrives in Paris, Madelein's behavior is odd. When she's with him, she tells him how much she adores him. But often, when he's supposed to meet her, she doesn't show. In other words, her words and her actions aren't compatible...but Lucien is hooked and again and again he comes back to her like a puppy. Eventually, however, when he is confronted by the man who keeps her, it finally becomes obvious she isn't for Lucien...and he leaves Paris for good. But there's much more...and it's pretty tragic...not a romance by any stretch.

The acting is THE reason to watch the film. Gabin, in particular, is really good...though he sure doesn't look fabulously sexy as most of the women see him. Perhaps times have changed. As for the story, it's not bad...just don't expect a romance or a film that will leave you happy...it won't!

Lady killer meets man killer, and suffers what he's made his past lovers suffer - to be head over heels in love with someone who only wants you some of the time, when convenient. It's a tough story to truly enjoy, and it comes with both an awfully convenient coincidence with his friend and some old school morality judgment meted out against the woman, which was unfortunate. On the positive side, Jean Gabin dials up the emotion and Mireille Balin plays the "kept woman" with breezy seduction and cold pragmatism well. The mother and servant characters also provide some amusing moments in a scene of great tension, and it was in moments like those that the film shined brightest. As for other supporting characters, I think too much is read into his feelings towards his friend, to me it simply reflects another time and culture, and if anything the male camaraderie reinforces the tones of underlying misogyny. Regardless, the way this played out left a bad taste in my mouth, marring an otherwise atmospheric drama.