Le jour se lève

the main setting of "le Jour Se Leve" is the top floor of a french apartment. the film opens with Jean Gabin character Francois - a factory worker- killing a dog trainer named Valentin who we find out (as the story unravels itself) was "involved" with his girl. Francois then barricades himself from the police, and the reason for the death of Valentin is told in simple sets of flashbacks that Gabin remembers between cigarettes as he decides what his next move will be. the story is simple and delicate in manner and substance but nonetheless the director/writer team Marcel Carne and Jacques Prevert succeed in turning the realistic (and sometimes edgy) conversations, movements and places into poetry. and in response to an earlier review, the simplicity of the flashbacks, is what makes the movie so intriguing. instead of relying on a heavy plot that might challenge audience, Prevert and Carne decide to put great detail into a simple tale about a sentimental man who is torn to ruin by a contemptuous and Machiavellian man.

That was one of the last French masterpieces of the thirties just before the war.Marcel Carné was accused of pessimism and the movie was quickly forbidden by the military censorship that used to say in 1940:"if we've lost the war,blame it on "Quai des Brumes""(Carné's precedent movie.The director answered:"you do not blame a barometer for the storm"). "Le jour se lève " is,if it's possible,darker than its predecessor. From the very beginning,the hero,a good guy (Gabin) is doomed,his fate is already sealed,because the tragedy has already happened .That's why the movie is a long flashback.The memories are brought back on the screen with an astounding virtuosity by some elements of the set (the teddy bear for instance).Only three main characters outside that of Gabin,the evil one (Berry who was to play the devil in "les visiteurs du soir "1942),the lucid one (Arletty) and the ambiguous one (Jacqueline Laurent).The latter provides

the only flaw of the movie:Laurent acts Françoise as the innocent pure girl,however Carné leaves no doubt about her relations with Berry. A remake was made by Anatole Litvak with Henry Fonda ,Barbara Bel Geddes and Ann Dvorak (who must have been studying Arletty's acting for a long while),called "the long night" with an absurd happy end. Needless to say,it's the French Carné movie that you've got to see!

French cinema at its best. Ideas of freedom, entrapment, isolation and realism wound into a great film which is carried by Gabin from the opening scene of the murder, through flashbacks he has remembered to the amazingly brutal final shot. Gabin and Laurent in the factory near the beginning of the movie is poetic realism at its most involving.

Told in flashbacks, the story slowly enfolds to explain the death that started the movie. A very touching love story. The guy is just trying to find a little love in his daily struggle to work a dead end job and make ends meet. There is miscommunication between some couples. Characters are unsure about what it is they really want out of life. Events lead tragically to a death. Trapped in his room by the police, the crowd responds with varying degrees of sympathy and confusion. Was the death inevitable? Those are the questions. In the end, you understand how the situation could have ended differently. You will enjoy this movie.

A fantastic film, which plays with the emotions of the spectator while stunningly portraying the feelings of a pent-up man whose end echoes his pent-up life in the city. The film is beautifully shot in black and white and is a perfect example of French realism, with a modernist time disorientation tossed in for good measure. I found the performances by Jean Gabin and a showgirl with whom he gets involved (played by Arletty)to be strong, portrayed with a kind of hopeless, clutching pathos. Worth it simply for the beautifully constructed final shot.