TCM: Thursday, March 22,2007 12:00 AM (midnight) eastern
Le Jour Se Leve
http://www.tcm.com/thismonth/article.jsp?cid=85267&mainArticleId=155222
"The doomed romanticism of French "poetic realism" in the late Thirties
reaches its high point with Marcel Carne's Le Jour se leve (1939). Perhaps
reflecting the sense of defeat that many French intellectuals felt after the
collapse of the leftist Popular Front movement, the films of "poetic
realism" maintained a focus on working-class life, but with more fatalistic
plots. They also created a moody atmosphere through music, lighting, and
vividly detailed but vaguely dreamlike sets. It has often been said that the
tone of films such as Le Jour se leve, Jean Renoir's La Bete Humaine (1938)
and Carne's Port of Shadows/Quai des Brumes (1938) foreshadowed France's
humiliating defeat at the hands of the Germans in 1940. Le Jour se leve,
appearing on the eve of World War II was banned in December of 1939 and
again during the Occupation, its air of defeat cutting too close to the bone
for French authorities."
steve recommends! *
steve
* Like money in the bank.
--
"The accused will now make a bogus statement."
James Joyce
Unfortunately the UK listing does not offer this.
I had tried to buy it some time ago but as you say
there does not seem to be a copy for sale.
Amazon.co.uk offers the dvd(2007) for rental only.
Stone me.
Recommendation seconded.
The American remake "The Long Night" with Henry Fonda and Vincent
Price isn't bad but in pales in comparison to "Le Jour Se Leve".
Dave in Toronto
> Recommendation seconded.
>
> The American remake "The Long Night" with Henry Fonda and Vincent
> Price isn't bad but in pales in comparison to "Le Jour Se Leve".
Very similar (except for the ending...a minor detail). Otherwise I wonder
if it was essentially made shot for shot. I recall the slow dizzolves in
both films, but they felt slower with more angst in "...Jour...".
I think you're right, it was basically a shot for shot remake with
some concessions made to satisfy an American audience, much the same
as was done when "Pepe Le Moko" became "Algiers". I understand that
in both cases the American producers tried to destroy all all copies
of the French originals (obviously they didn't succeed).
Dave in Toronto