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William L @RT77267842 04/17/2021 Prévert screenwriting career is predominantly remembered for his Oscar-nominated contributions to Les Enfants du Paradis, but with its nonlinear narrative structure and dark themes, perhaps Le Jour Se Lève should be a better standard to remember him by. One of the late champions of poetic realism, Carné's film about a man trapped in his apartment reflecting on the course of events that brought him to commit a murder is a classic but today relatively little-known piece of pre-war French cinema (languishing in the shadow of Les Enfants). The story of the film's survival is a fascinating one as well - banned the year after its release by the Vichy government as demoralizing, then unofficially suppressed by RKO when they intended to remake the film post-war; however, the work endured. Featuring a few interesting pieces of cinematography to accentuate the suffering of our protagonist, Gabin's François, the story is a tragic one, recounting a series of relatively conventional events and personalities that ultimately clash with mortal results, particularly romantic entanglements. A film that might not be a top priority for world cinema buffs today, but that is well worth the time. (4/5) See more 08/20/2018 Carné uses the concepts of space and time masterfully in this precursor of the film noir genre. See more s r @ScottR 01/15/2018 1001 movies to see before you die. Framed around an unusual standoff with French police at a man's apartment, the flashbacks tell the story of how he came to murder a competing lover. Jean Gabin is great. See more 09/15/2015 One of the touchstones for Jean Gabin's mystique - cool, yes, but also violent and doomed. Of course, in 1939, all of France felt doomed, so this image resonated. Director Marcel Carne (who was later maligned, possibly injustly, as a collaborator) brings poetic realist touches to an otherwise straightforward boy-meets-girl-who-is-infatuated-with-a-sleazy-older-guy narrative. The flashback structure, wherein Gabin remembers the events that led him to murder Jules Berry (remembering while holed up in his apartment with the police at the door), is handled well, more like a dream than reality. Arletty is excellent as Berry's ex-lover and Gabin's fling (but not the object of his amour): cynical and jaded and disappointed. The ending (doom arrives) caught me by surprise somehow - this is one that I will look forward to watching again to better perceive its true arc. See more 03/18/2014 I think I missed some details thanks to lackluster subtitles. Oh well, my march to 1001 movies I must see before I buy the farm continues. See more 05/22/2013 A film that affirms the notion that love may be the only thing that compels someone to live for the extraordinary. See more Read all reviews

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