La traversata di Parigi

Claude Aurent-Lara was one of the best directors France ever produced. A good director takes a similar harmless story and elevates to high art. A bad one cannot. It is in the way he frames a shot, builds the tension and especially the transition shots that define one. In that case, Aurent-Lara ranks up there with the likes of Eisenstein and Hitchcock. The man was an ultimate craftsman who understood cinema. Shame on Truffaut who just showed his ignorance for slamming him and his movies. This movie also known as four full bags teams two of France's biggest stars of the era, Jean Gabin and the one name Bourvil in a delicious comedy with a human heart. It is WWII and occupied France is running short of pigs thus creating a black market for it. Bourvil's job is to get the already killed pig's carcass aka pork in four cases and deliver it to the seller who will take it to the market. He meets and enlists the "homeless" Gabin to assist. They must outwit scared Parisiens and Nazis on the night watch to achieve this deceitfully simple task. That is all you need to know to enjoy this war time romp. The laughs come at a clip a minute, mainly from the garrulous and belligerent Gabin with Bourvil, the straight man in their Lawrence and hardy relationship. Before the night is over and daylight comes, we shall meet dogs, drunks, experience the fear of an occupied people who hope for a better tomorrow all done with a airy touch. And the last scene will make any cinema lover and human being rejoice. I love this movie so much, I think though it is not as complex as Kubrick's Dr. Strangelove shares its agony and eccentricity of the nature of war.

The bringing together of two great comic actors of the calibre of Jean Gabin and Bourvil could not fail to be a great success, but this film surpasses the audience's expectations by several hundred kilometres. For both actors, this is a real tour de force. Bourvil is the hapless stooge to Gabin's outrageously forceful character, and the double act is unbelievably funny. One can't help but have pity for the poor unemployed Parisian as his night-time trudge across Paris is turned into his worst nightmare.

Whilst much of the humour is in the performance of its two stars (joined by Louis de Funes in that amazing cellar scene near the start of the film), the script is well-written and genuinely funny in places. The menace of the Nazi threat is there all the same, and this is heightened by the darkened sets representing a deserted Paris, resounding with the distant tread of the German patrols. The last twenty minutes of the film is a distinct contrast to what preceded it, and the humour appears to fade very quickly into drama. Luckily, our heroes emerge unscathed (possibly), but the threat of what might have been substantially changes one's view of the film.

Needless to say, when this film was released in 1956, scarcely 10 years after the end of the Second World War, it was widely reviled. It presented a view of the occupation that, whilst honest and accurate in retrospect, had never before been seen in French cinema and which was simply too much for many to stomach. Gabin's character was a particular target for scorn, representing a cynical free-thinking attitude that could only be regarded as dangerous and anti-Republican. The film's director, Claude Autant-Lara, should be credited with immense courage in presenting to the French people his perception of the war, unadulterated by the constraints of convention. That he should achieve this through one of the funniest of French films is a remarkable achievement.

Gabin a great comic? That's not the image that springs to my mind when I think of Gabin, but then neither do I think of Bourvil as a dramatic actor - until I stick 'Le Circle Rouge' in the machine for the nnnth time. Whatever, the two were teamed brilliantly in this post-war nod to the Black Market in Paris during the occupation. The 80 minute running time is just about right for this romp that obliges regular Black Marketeer Bourvil to work with a dep, Gabin, and transport valises stuffed with pork from arondissment to arondissment under the eyes of the Germans. The movie is kick-started via a cameo from all-time great French comic Louis de Funes and it seldom lets up. Although the soundtrack is replete with Parisian underwold slang the thing is so visual that even non French speakers could follow the story in the original, non-subtitled version. The denoument, such as it is, that Gabin is really a celebrity (artist) and is doing the gig for kicks rather than money, is fairly irrelevant, and the last scene, with Bourvil, now a railway porter, toting Gabin's bags is neither here nor there. Even today, half a century after the events, the French are still sensitive to anything apertaining to the Second World War and the French movies that address those feelings, whether sentimental, frivolous, or dramatic, are among the best movies of any country. This is no exception. Five stars in anyone's solar system.

I guess all over the world, moviegoers know this film, for its cast and dialogues. Typical French cinema at its peak, far far better than LES VISITEURS crap made in the nineties. Jean Gabin, Bourvil and Louis De Funès - then still a supporting character, not very well known yet - are absolutely unforgettable in those fantastic roles. The story takes place in Paris, under German occupation, during WW2. You can easily watch this film without getting tired, you can watch it over and over again, you enjoy it more and more. Like a good wine, the more you wait to watch it between your movies sessions, the better it is. One scene in particula, between Gabin Bourvil and De Punès is particularily terrific and funny in the same time, a concentration of talent of the most important actors that French movie industry has ever had. An absolute must see. Claude Autant Lara's masterpiece, and best know, worldwide known film.

Marcel Ayme's original story goes this way. Martin and Grandgil hire out to a corrupt wholesaler, Jambier, in wartime Paris. They agree to transport about 200 lbs of pork in four suitcases to a butcher who is waiting to receive this contraband (rationing is in effect, remember). Grandgil through his histrionics, increases the fee to 5,000 francs from the original 900. They encounter some fascinating and corrupt people along the way. Martin kills Grandgil at the latter's studio: he's enraged by the artist's lack of concern for the value of work and the concept of honor. Martin delivers the pork finally and is arrested for murder.

Well, you wouldn't recognize the story that Aurenche and Bost created out of this sour little saga. They have given it a happy ending. I am not going to tell you what happens to Gabin and Bourvil, but it is a crowd pleaser. I have stated my reserve about late-period Gabin in the past, but here he is terrific. The rant at Jambier's store is very funny: "Jambier, 45 rue Poliveau, my price is a thousand francs!" Bourvil is a great foil for him; he's more rational and less risk-taking than Gabin, if also less imaginative.