Le quai des brumes

Was there ever a better example of Poetic Realism (no, but one just as good, Le Jour Se Leve, from the same stable)than this, crafted exquisitely by the onlie begetters of the genre, Jacques Prevert - Marcel Carne. All the ingredients are present and accounted for; low-key lighting, atmos - perm any two from drizzle, sleet, cobbles, out-of-season resorts - and two doomed lovers who come together for one Mayfly moment in the sun before it all ends in tears to the distant sound of hammers striking firing pins and the heady, pungent aroma of cordite. Did anyone, with the possible exception of Bogie, do bruised tough better than Jean Gabin and pre-Audrey Hepburn were there ever so expressive eyes as Michele Morgan brought to the party. The Prevert-Carne team were on top of their game in this one which still holds up sixty years on. Purists may quibble that 'brumes' translates as mist rather than shadows but without a shadow of a doubt this is classic fare.

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!

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

...blame it on the "Quai des Brumes" !Both the right wing and the leftist reviews were chilly ,calling the movie " morbid" .Military censorship quickly banned "Le Jour se Lève" which was,if it were possible,even more depressing -and in my opinion even better,though at such a stratospheric level of art,this is minor quibble.

"You do not blame a barometer which forecasts the storm" was Carné's famous answer.

"Quai des Brumes" belongs to the legend of the French cinema.In a poll made around 1980,it was 8th best French film of all time (the number one,another Carné's masterpiece " Les Enfants Du Paradis" was a safe ,predictable choice ).More than the detective plot (there are many deaths in this film) ,the atmosphere of this misty harbor,with its ships about to sail away for these islands in the sun you'll never know ,is all that counts.It was the triumph of the Réalisme Poétique ,a label Carné himself did not like : these stories were poetic but they were not that much realistic,for they were filmed in studios ;masterpieces of cinema de studio of these golden years ,when the French were the best in the world : the harbor is unforgettable,as are the Canal Saint-Martin in "Hotel Du Nord" ,the metro station in "les Portes de la Nuit" or Le Boulevard Du Crime" in "Les Enfants Du Paradis".

After an odd effort -which is today considered ahead of its time- " Drôle De Drame" , " Quai Des Brumes" is actually the follow-up to "Jenny" (1936).The gallery of sinister-looking persons was already present in Carné's first movie,and Françoise Rosay's last lines indicated that the relatively optimistic ending would mute .

"Quai Des BRumes" leaves no hope to the viewer .This harbor which should mean freedom,escape is actually a blind alley ;nobody can escape.When Gabin appears in his shabby uniform and the gorgeous Michele Morgan in her raincoat and wearing her famous beret ,we know that their fate is already sealed.All the b.... around cannot understand true love .This is Carné's favorite subject: Michel Simon and Michèle Morgan are the prototype of the director's odd couple :see also Jules Berry and Jacqueline Laurent in "Le Jour Se Lève" or Pierre Brasseur and Nathalie Nattier in "Les Portes De La Nuit".

Extraordinary scenes: Michel Simon,playing loud classical music which becomes "exotic" in such a rotten world.The same ,crying his heart out for love which he has never known "Nobody loves me!" ;Nelly and Jean on the harbor,exchanging Prevert's haunting lines " Every time the sun rises ,we hope something fresh will be born,but when it goes down,it the same old gloomy world" "The bottom of the sea is full of rubbish" ;the opening scenes ,with this truck running through a foggy country .

All the endings of Carné's movies of that era are mind-boggling:from the sun rising as the tragedy is complete ("Le Jour Se Lève") to the still beating hearts ("Les Visiteurs Du Soir"),from Baptiste lost in the crowd ("Les Enfants Du Paradis" ) to the stunning editing which concludes "Quai Des Brumes" : Jean,Nelly,the ship,the dog ,all this ,more than the other endings had a strong influence on more movies I can think of: Yves Allegret 's "Dédée D'Anvers ",Carol Reed's "Odd man out" -also influenced by Duvivier 's 'Pepe le Moko" are two prominent examples.

We may have lost the war...but we have gained another masterpiece by one of our greatest directors and one of our greatest writers.

Interesting what a contrast this movie makes to Carne's "The Children of Paradise". The two are almost complete opposites where mise-en-scene is concerned, and yet more interesting is that they both show a filmmaker with a craft of form and expression that rises beyond most other filmmakers, including his contemporaries.

"Port of Shadows" is about a French army deserter (Jean Gabin, wonderful as usual) who attempts to flee the nation in order to finally begin a life away from the bad luck that's always held him. He appears at a small port town, immediately falls in love, and sets off a chain of events that show an inherent fatalism with a sense of humor, tragedy, and substance.

This movie has one of those scripts that's very appealing in the way that it sends characters wandering through the mists, and yet somehow everything comes together and ties up all loose ends by the end. Adding to it the moody, brooding cinematography filled with fog and smoke, and one can't help but immerse oneself gladly into a different world. Also, Carne adds a sense of theatricality and the Carnivalesque that even Fellini couldn't compare to.

This is definitely a film that well deserves being called "a classic of French cinema." --PolarisDiB