Winter in Paris, 1944. The occupying Germans have fled, Vichy disbanded but the war still rages on and shortages exist. Jean Diego (Yves Montand) exits at the Barbes Rochechouart metro station to deliver bad news to the wife of a friend. It turns out the news is erroneous, however and the wake turns into a celebration as Diego and the family go out to dinner where he finds himself entranced by a woman (Natalie Nathier) he views from the window of the restaurant. She wants out of her marriage and the pair meet later by coincidence. Meanwhile a jealous husband (Pierre Brasseur) searches for her.
Released in 1946, wounds still fresh from the occupation Gates of the Night is more than just a tragic romance but also a recent reminder of the collaboration and betrayal of fellow Frenchman during that period as well as those who benefited from the calamity. Director Marcel Carne shows no sympathy for these exploiters as they attempt to re-write their recent history. Pierre Brasseur, Serge Reggiani and especially Saturnin Fabre convey their complicity denial with unctuous conviction.
Carne and screenwriter add a touch of fantasy with a homeless character believing he is destiny in human form and while it rattles the verismo of the picture it provides additional ambiguity and interest.
Shot in typical graceful Carne style, (with cinematographer, Phillipe Agostini providing some stunning night canvases) the romance (with its "Autmn Leaves" background music) tends to be rather mawkish. Carne also chooses to jump from the film's climactic moment to another almost as pressing only to distract from both.
Romance removed Gates of Night must have engendered a good deal of emotion and soul searching to a French audience and the very recent memory of its occupation.
