After getting back in the groove with Dr. No (1962-also reviewed) I decided to continue exploring French cinema of 1932. Checking the handful of titles left,I found this to have the shortest run-time, which led to me finding a coin of hope.
View on the film:
Later calling the film "A mistake", directing auteur Jean Gremillon turns out to be far too critical of his own creation, as Gremillon & cinematographer Paul Cotteret sail in with a beautiful opening dolly shop across the deck of a ship, which curls into overhead tracking shots and an angelic glow for Francoise (a sweet Josseline Gael.) Pre-dating his excellent La dolorosa (1934-also reviewed) Gremillon builds on his motif of song and dance (but not Musical)numbers laying at the heart of the relationships, which crescendos with a long gliding shot backed by Albert Chantrier's heavenly score.
Dropping the penny on what likely left Gremillon with a bad taste, the screenplay by Henry Falk/ Alfred Machard and Pierre Maudru becomes stuck after the opening sequence of being at odds with itself,via the sweeping romance and thieving being elbowed with broad Comedy which stands out of touch not only with the characters, but with Gremillon's thoughtful stylisation. In the middle of this push-pull, Jean Diener stands out in his turn as Furet,thanks to Diener eyeing the comedic sides,while keeping hold of Furet's more serious side in being after a cent of hope.
View on the film:
Later calling the film "A mistake", directing auteur Jean Gremillon turns out to be far too critical of his own creation, as Gremillon & cinematographer Paul Cotteret sail in with a beautiful opening dolly shop across the deck of a ship, which curls into overhead tracking shots and an angelic glow for Francoise (a sweet Josseline Gael.) Pre-dating his excellent La dolorosa (1934-also reviewed) Gremillon builds on his motif of song and dance (but not Musical)numbers laying at the heart of the relationships, which crescendos with a long gliding shot backed by Albert Chantrier's heavenly score.
Dropping the penny on what likely left Gremillon with a bad taste, the screenplay by Henry Falk/ Alfred Machard and Pierre Maudru becomes stuck after the opening sequence of being at odds with itself,via the sweeping romance and thieving being elbowed with broad Comedy which stands out of touch not only with the characters, but with Gremillon's thoughtful stylisation. In the middle of this push-pull, Jean Diener stands out in his turn as Furet,thanks to Diener eyeing the comedic sides,while keeping hold of Furet's more serious side in being after a cent of hope.
