Les visiteurs du soir

The heavy censorship imposed during the german occupation made it difficult for cineasts to find non controversial subjects. Jacques Prévert and Marcel Carné came up with this medieval tale of love and sorcery with a prestigious cast of great actors. It has been claimed that the beating heart in the statue was a symbol of the Resistance.

Here is a fine production by Julien Duvivier.

I had the impression to be one of the castle's festivity and the arrival of the "Visiteurs" added a mysterious ingredient that had, at the beginning at least, nothing of the despair that was part of their demoniacal mission.

The enchantment provoked by the satanic couple was a pure wonder. That momentary paralysis of a whole small world between two exciting scenes emphasized Arletty's and Cuny's masterly talent.

Jules Berry's play (the Devil) was so fascinating that it made me longing for a ticket to Hell.

That high class "fantasia" glide far over all those easy big budget "fantastic" productions which flood the film fans since too long.

I know nothing of the director, and after reading other reviews, I certainly know nothing of any correlation between the Nazi occupation of France and Hitler as relating to the film, as far as metaphor and allegory goes. And I'm so glad I had no prior knowledge of any of that, because I was thoroughly delighted and impressed with this true piece of art.

I'm not a huge fan of period pieces, so when I realized it was set in the 15th century, I was inclined to stop watching. But after 10 to 15 minutes, I was hooked. The next thing I knew, I was an hour into it and enthralled. And I'm so glad I saw it through until the end.

The acting is wonderful. The story and screenplay are quite slick, especially the dialogue. The costuming, cinematography, music, etc., all work together to create a seamless product.

If you are a fan of French cinema, especially during the 1940s, I highly recommend this. If you're new to French cinema, this may not be an ideal introduction, but the storyline is universal enough to please.

It's the only Carné-Prévert movie that takes place in another era,the Middle Ages.During the German occupation,it was an alibi:the Devil was meant to represent Hitler and the two lovers the Resistance.But for the people at the time,their hints at French plight were so disguised -or else,it would have been banned by the censorship-,they only saw the escapist movie which they did need.Over the years,the movie has lost some of its charms:after a brilliant introduction,the pace remains too slow and it's hard to believe that Alain Cuny and Marie Déa are eaten with desire.As always in Carné's movies,it's the supporting cast that walks out with the honors:Arletty is as splendid as ever in her androgynous beauty,and Jules Berry is ideally cast as the Devil.Though it remains inferior to "le jour se lève" and "les enfants du paradis" ,"les visiteurs du soir" is a curiosity for French movies buffs.People who like it should see "l'éternel retour",a collaboration between Jean Delannoy and Jean Cocteau.

NB :"Children of paradise " also takes place in another era ,the nineteenth century;sorry.

This was the fifth of the six Great films directed by Marcel Carne between 1937 & 1945, again with writing collaboration from Jacques Prevert, and perhaps the most neglected. So much so I've yet to see a good print, my latest one from French TV seems to have horses galloping (albeit softly) throughout the soundtrack while the film seems to have been bashed about a bit. Never mind; Carne's career was littered with excellent films but Visiteurs was one of his best - maybe it's best seen now without thinking of metaphorical allusions to the then resistance against the Nazis (except as a piece de resistance?) And the best was still a few years off: the utter magnificence of Les Enfants Du Paradis.

France 1485: shady Gilles (square jawed Cuny) and Dominique (worldly wise Arletty) arrive at Baron Hugues castle as melancholic minstrels intent on disrupting the marriage preparations going on – as any self respecting devilish envoy would. Alas it goes awry for Gilles when he actually does fall in love with Anne the Baron's daughter (Dea) but Arletty manages to keep to her usual cynical straight and narrow course, and leads the Baron off his. It's beautifully photographed on black & white nitrate film capturing atmospheric sunny days and romantic arc-moonlit nights, gorgeous costumes and fascinating sets equally well. One can almost smell the fresh air! One slight downer: the three midgets go from startling to plain irritating with their omnipresence. It's all about Love, Honour & Purity poetically and elegantly related – which makes the denouement with the supposedly pure Anne and the for once nonplussed Devil so delightful and droll. Even if out of scope for him he should still have been able to guess that all's fair in love!

Remember: the Devil will always find work for idle hands to do, including his own. Watch it for a thoughtful two hours of breath taking beauty strolling through a lost world as portrayed by another lost world. Next: Les Enfants Du Paradis.