Três Dias de Amor

Considering it won an honorary Oscar in 1949(before the category of Best Foreign Flm became a competitive affair) and garnered awards for both director René Clément and actress Isa Miranda at Cannes, the subsequent neglect of this film is indeed mystifying.

Its critical success was not reflected in box office returns however, perhaps because the public did not want to be reminded of post-war austerity.

I have revisited this film on a few occasions and it never fails to move me.

Gabin's career seemed to be in free-fall at this time before Jacques Becker came to his rescue with 'Touchez-pas au Grisbi'. His air of world-weariness, no doubt influenced by his war service, suits the role perfectly. Gabin was certainly no stranger to characters pursued by implacable Fate but this is his final appearance in such a role.

The performances that haunt however are those of Isa Miranda and fifteen year old Vera Talchi as mother and daughter. Miranda would never again to my knowledge be gifted such a part and she is absolutely wondrous. Her chemistry with Gabin is palpable. Talchi was a great find but her career thereafter did not alas amount to much apart from playing the love interest in the first of the Don Camillo series. What a pity.

This and his films 'Battle of the Rails', 'Forbidden Games' and 'Gervaise' guarantee Clément a place in the Pantheon of great directors. Roman Vlad has written a powerful score and the images by Louis Page of war-torn Genoa add to the film's neo-realist feel.

Visconti maintained that the most important thing on screen is to portray the burden of being human. Clément's film certainly fulfils that criterion in no uncertain terms.

I have to agree with the reviewer who saw "The Walls of Malapaga" recently on TCM. It was really almost unwatchable; only because I speak Italian and have a passing knowledge of French did I continue. The subtitles were impossible to read and the whole movie had a washed out, unbalanced look which didn't add atmosphere to the Neorealism, but instead distracted from it. As for the story, this is the second time I've seen this film and I do love the post-war depiction. Marta (Isa Miranda) and her daughter (Vera Talchi) live in the ruins of a bombed out building in Genoa and Gabin is Gabin. It's shameful that this film has not been restored; hopefully, someone will take it on and release a print that is worthy of it.

Le mura di Malapaga (1949) is a Italian/French movie directed by René Clément. It stars Jean Gabin as Pierre Arrignon, a French criminal who escapes to Genoa, Italy.

René Clément was a famous French director in the mid-20th century. He is sometimes called the father of French New Wave Cinema, although the directors in the New Wave were younger than Clément.

Jean Gabin was the leading French male actor of his day. Clément and Gabin made a great team, and what resulted was a great movie. As others have pointed out, this film is a mixture of film noir and neorealism. We see film noir touches everywhere--shadows, steel bars, crimes. Neorealism was easy if you were shooting in 1949 Genoa. The rubble left behind by WW II was everywhere. People speak of "living in the rubble" or "playing in the rubble" is if this is just part of everyday life. (I assume it was part of everyday life.)

The movie also stars Isa Miranda as Marta, the Italian woman who falls in love with Pierre. She's easy to distinguish--the beautiful, slender woman with high cheekbones. (That's a joke, because it describes every French movie star of her day. However, she really was beautiful, and she really was a great actor.)

However, for me, acting honors go to Vera Talchi, as Cecchina, Marta's daughter. At age 15, it couldn't have been easy to play alongside Gabin and Miranda, but she managed it extremely well.

This film won the Oscar as Best Foreign Language Film in 1950. We saw it in 35mm at Rochester's wonderful Dryden Theatre in the George Eastman Museum. However, it will work almost as well on the small screen. If you love film noir and 1940's neorealism, it's a must see. Even if those are not your favorite type of films, it's still worth seeking out and seeing.

P.S. The Walls of Malapaga in Genoa still exist. It was hard to get information about them, because my search brought up either the movie or a restaurant in Genoa. However, I finally tracked down the fact that Malapaga was a terrible debtor's prison for centuries. It's these walls that physically keep Pierre from getting away. Of course, there are emotional walls as well.

Coming just after "les maudits" ,perhaps René Clément's best film -and of course totally overlooked-,"Le mura di Palapaga" aka "Au-delà des Grilles" displays the same respect for the audience as far the languages are concerned.Italians speak Italian between them,and Gabin speaks French with Isa Miranda.There the comparison ends.

For "Au Delà-des Grilles" highly praised at the time, lauded far beyond its station,and incomprehensibly awarded at the Festival de Cannes ,has not worn well.The screenplay borrows lots of ideas from "Pépé le Moko" ,Duvivier's masterpiece (1937) and the atmosphere tries to capture that of the Italian neo-realism .Gabin does not seem to be interested in his part -he had played this kind of role of the good-guy-with-policemen-hot-on-his-heels many times before ;outside "Pepe" there 's also "La Bandera" "Quai des Brumes" "Le Recif de Corail" ,etc.Isa Miranda is the stand-out but in that context,it does not mean much.Try to see "les Maudits"!

Although highly regarded at the time, it also has to be one of the most easily forgotten French films of the late 1940Õs.

This gritty, neo-realist tale set in post-war Genoa is a vehicle for the two stars, Isa Miranda and Jean Gabin , but is bereft of compelling dialogue or dramatic content.

The story line is sparse: Gabin, on the run for murdering his lover in France, disembarks at the port of Genoa seeking treatment

for a toothache. He encounters a young girl, Vera Talchi, who helps him find a dentist. After being pick pocketed, he meets, Miranda, the girlÕs mother, who serves him a meal at the trattoria where she works.

Quickly they become attracted to each other, she takes him home and they fall in love. The daughter becomes jealous of the new relationship. Meanwhile, the police began to close in on Gabin.

Rene Clement, better known for Purple Noon and is Paris Burning, scored not only the Best Director award at Cannes in 1949 but also an honorary Oscar for Best Foreign Language Film in 1950. In addition, Isa Miranda was named Best Actress at the Cannes Festival..