[color=blue]Le Jour se lève
Alba Tragica; Daybreak[/color]
* Director: Marcel Carné
* Script: Jacques Prévert, Jacques Viot
* Photo: Curt Courant
* Music: Maurice Jaubert
* Cast: Jean Gabin (François), Jacqueline Laurent (Françoise), Arletty (Clara), Jules Berry (Valentin), Jacques Braumer (Le commissaire), Bernard Blier (Gaston), Mady Berry (La concierge)
* Country: France
* Language: French
* Runtime: 85 min, B&W
* Aka: Daybreak[/color]
[color=blue]An ordinary factory worker barricades himself in his room, having shot another man, Valentin. He ignores the cries from neighbours and police who surround his home. As night falls, he begins to recall the circumstances that led to the killing. He remembers that he was in love with a girl called Françoise, and that everything was going fine until an unscrupulous dog trainer, Valentin, appeared on the scene...[/color]
[color=blue]Le Jour se lève is another doom-laden tale which sprang from the combined genius of director Marcel Carné and screenwriter Jacques Prévert. By the time this film was made, there was an all-pervading aura of pessimism hanging over Europe, with the imminence of a World War, and this is noticeable in French cinema of this period. Le Jour se lève captures this sense of gloom with a particular acuity and it is impossible to watch this film without experiencing something of the angst of the time in which it was made.
As in Carné’s earlier film Le Quai des brumes, Jean Gabin shows himself to be perfect material for the Carné-Prévert brand of poetic realism, a style very noticeable in late 1930s French cinema. Not only is Gabin capable of playing ordinary working class men with total conviction but he has the aura and looks of a tragic actor. Although Gabin was possibly asked to play the part of the doomed hero too often in his career, in this film his character’s demise is one of the most moving. This is mainly due to the actor’s remarkable ability of finding an empathy with his audience, but also because he appears perfectly in tune with Prévert’s melancholic view of life.
This film also treats us to a deliciously mischievous performance from Jules Berry, by now dangerously type-cast as the villainous womaniser, and Arletty in an uncharacteristically tender and restrained performance.
The film’s strength lies only partly in its acting performances. What is equally important, and what gives it the status of an undoubted masterpiece, is the film’s construction. Today, the use of the flashback idea is pretty banal, but in 1939 it was practically an innovation. The film’s narrative is built entirely around the notion of flashback, and the approach works perfectly. The film could not have worked if had been told in a conventional linear narrative.
The film’s unusual construction is served by its sombre dusky photography. Almost every shot seems to be loaded with significance and poignancy, particularly the night time scenes at the start of the film when François, cornered in his room, reflects on his predicament. Visually, there is no doubt that this is a work of poetic genius, heart-rending in its wistfulness, tragic in its stifling sense of melancholia. [/color]
[CODE]File Name .........................................: M. Carné - Alba tragica (dual).avi
File Size (in bytes) ............................: 808,224,768 bytes
Runtime ............................................: 1:26:03
[color=blue]30-80 kb/s 10 am - 11 pm,
cheers to the original ripper,
Dual audio, italian - french,
subs english, portuguese and spanish: http://www.opensubtitles.org/en/search/sub...ll/idmovie-7603 [/color]