La bête humaine

"La bete humaine" is a film noir avant la lettre. Is this why "film noir" and related terminology such as "femme fatale" is French, in spite of the fact that the indicated films are in general American? Of course not. The term "film noir" comes from an article in a French movie magasine (L'ecran francais, The French screen) about American crime movies after World War II.

The story in "La bete humaine" is a bit shaky. Simone Simon (also known from "Cat people" (1942, Jacques Tourneur)) is the femme fatale, seducing a couple of men. These men need to be totally blinded by love however not to see through her real intentions.

The strong part of the movie is the way it portrays the railroad community of those days. The collegue is not merely a collegue but a friend. The locomotive has a name and is treated as nearly a living creature. Because the train table makes it impossible that everyone returns to his post at the end of a working day, there are special pensions for railroad staff. The film emphasizes the camaraderie between the men in those pensions where the book from Zola more accentuates the diffuclties men alone have to stay away from booze and women.

The point that you really could do with reading at least some of Zola's mammoth saga is well taken - I've only read Germinal so I'm afraid that lets me out. The many puzzling bits in the plot would probably not be: why such fleeting references to ancestral drunkeness and epilepsy, what happened to Cabuche, were Jacques and Bess in a serious sexual relationship?

Basically outraged and cuckolded middle-aged husband murders beautiful young wife's childhood ancient sugar daddy, she (Simon) drifts into stocky Gabin's and/or a lithe young man's arms, sex and violence result as surely as the earthy pre-War French trains ran on time. Some marvellously atmospheric nitrate b&w photography even when under the arc-lights, some scintillating and also some surprisingly clumsy framings from Renoir, some tremendous acting from the leads and trains, some brief but jarring full orchestral incidental music, and what are we left with all these decades later? A clever, well-made, entertaining and then-popular now relatively ignored (IMDB eg Bete Humaine 17 Amelie 1033) film applauded to the rafters as Art because it's Renoir. There could be no other outcome for this film - it was Fated to be Art after all!

It's very good and been one of my favourites for decades now, not as essential mind furniture but more as an enjoyably engrossing proto-noir romp with subtitles.

I was very surprised when I watched this film; right in the beginning I spotted a great deal of similarities with Fritz Lang´s 1954 flick "Human Desire", with Glenn Ford and Broderick Crawford, which I had previously seen. Both films are based on Zola´s story, and, obviously, the merit is Renoir´s, since his version is much better. The psychological and deep meaning beneath the coolness of the main character (Jacques Lantier, in a Gabin memorable performance) is handled superbly; so is his troubled relation with Simone´s character. Despite some boring shots, the photography and screenplay are gems, and "Bete Humaine" ends up being a great addition to Renoir´s filmography. I love him; "La Grande Ilusion" and "La Regle du Jeu" are two of my favorite films; a masterful storyteller and a curious observer of the human soul. A humanist.

Jean Renoir's work has been the best of all possible cinemas in the French thirties:a ruthless bourgeois wholesale massacre (la chienne,1931,Boudu sauvé des eaux,1932),Italian neorealism ten years before Rossellini,DeSica et al(Toni,1934),cinema verité before Godard (la vie est à nous ,1936)romantic and tragic pastoral,(une partie de campagne,probably his masterpiece,1936),pacifism(la grande illusion,1937,his most overrated,thus the most popular),history (la revolution française,1938)then "la bête humaine".

"La bête humaine" is arguably the best Zola screen adaptation.Seventeenth part of the Rougon-Macquart family saga-one of the peaks of French lit in the 19th century-,this could be the best with the exceptions of "l'assommoir" and "Germinal".The hero is a son of Gervaise Macquart ,Jacques Lantier.He was not mentioned in any of the previous books,because Gervaise had only 3 children (Nana,Etienne(in Germinal) and Claude (in l'oeuvre),and Zola needed one more,so he made up this fourth child from start to finish.What he needed was a hero with a history of mental illness (stemming from alcohol).Jean Gabin portrays Jacques with a sublime conviction:the scene in which he tries to strangle Blanchette Brunoy to whom he confesses he can't help it,he can't escape the terrible fate which is in store for him.

When he meets Severine(Simone Simon,the future heroine of Tourneur's "cat people'(1942)),and is attracted by her sexually,the woman,whose husband (Fernand Ledoux) is anything but handsome, feels in deep in her perverse soul, that she's found the right killer,because she has discovered he's unable to keep his self-control .

Some scenes are absolutely unforgettable:the beginning,which films the railroad tracks as never before;the railroad men dance,during which a murder is committed while a singer is crooning an old song,"le petit coeur de Ninon";the final,faithful to Zola to a fault: a train,belting in the night,gone mad,which becomes a metaphor not only for Lantier's descent into hell,but for the country (it's 1938!) heading for the darkness.Renoir had transposed the action in th thirties.These dazzling pictures perfectly echo Zola's extraordinary lines:"Elle roulait,roulait sans fin,comme affolée de plus en plus par le bruit de son haleine"(It was rolling,endlessly rolling,as if it were more and more panic-stricken by the sound of its breath).

Remake by Fritz Lang in 1954 :"human desire" with Glenn Ford and Gloria Grahame;although I admire Fritz Lang very much,I think his effort is neatly inferior.

Jean Renoir's "La Bete Humaine" (1938) stars Jean Gabin and Simone Simon in an adaptation of Emile Zola's novel. Renoir's novel is part of a series following a family. Lantier (Gabin) suffers from an inherited illness, possibly a chemical dysfunction. He's given to violent outbursts. He falls for the beautiful and childlike Sevarin (Simon) who, with her husband, kills her lover. Lantier witnesses this. Sevarin wants him to help kill her husband.

This is a beautifully photographed, bleak story with the symbolism of the railroad (Lanier is a railway engineer) running through it. Gabin is terrific as the tragic Lanier, and Simone Simon is effective as the woman.

Fritz Lang's later film "Human Desire" is also based on the Zola novel, but the Renoir version has more layers, particularly in the characterizations.

Highly recommended.