Gutsycurene
Fanciful, disturbing, and wildly original, it announces the arrival of a fresh, bold voice in American cinema.
Siflutter
It's easily one of the freshest, sharpest and most enjoyable films of this year.
Matylda Swan
It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.
Gizmo
'Film Noir' was a French term for a type of violent, pessimistic American film that started to appear around and after the second World War, usually shot in sparse, dark rooms at night, at least partly to save money.Often they would take place in flashback - as in Double Indemnity, DOA, and Sunset Boulevard - with the fate of the hero already carved in stone, and the film just the series of bad decisions and treacherous women leading up to his fall. Oddly though, this French film might be the one that started all of that, and though it might not compare with the Chandleresque dialogue and fast-moving shoot-em-ups that followed, it is decidedly more beautiful, mysterious and atmospheric.On the downside, even though it is a short film it drags, and there are some poorly developed characters and plotholes (François following Françoise all the way into town about 10 feet behind her in an empty street while pushing a bike and she never sees?)I've only seen it the once but I was confused as to the relationship between François, Françoise and Valentin: first we were told these two new lovers with the same name happened to be raised in the same orphanage, then an older man who is having an affair with the female one claims to be her father. This plot twist doesn't seem to lead anywhere but thin air, and I would have thought the much better story would have been the revelation that Valentin was BOTH of their fathers, and hence the two lovers were actually brother and sister. Was this a storyline left undeveloped because of its taboo nature? I don't know, but I feel it would have been a much better catalyst for François shooting Valentin than the somewhat unconvincing showdown in the final film. In conclusion: it's a flawed jewel from the past: watch for the exquisite photography and silver atmosphere, as well as the central performances, especially from Jean Gabin, who was perhaps never better.
ale_cya
I didn't liked this film. The movie and performances are good. But...is the story that just irritates me. Françoise is a horrible women disguised in a beautiful and delicate girl, but I can't stand the way she lies. That kind of people who plays with other people feeling is just disgusting. And she do it blatantly like nothing. And François, he also do it with Clara, but I don't know, its different, the man is in love and suffering. Françoise may just say no in the begging, just as easy
Armand
sentimental, far to be great, almost common. but seductive under the science of Carne to give delicate nuances to flash backs, to transform scenes in little gems. and, in same measure, the art of Prevert to transform each detail in a precise piece of puzzle. a film about love and innocence. about a kind of Mephisto - remarkable performance of Berry - and delicate lights of role in Jacqueline Laurent performance. but, in many aspects, a film of Arletty and Jean Gabin. not a surprise. the names of director and scriptwriter are basic guarantees for a remarkable work. but, after so many years, like many other films," Le jour se leve" has more seductive sparkles and great profound value.
MartinHafer
This is an excellent French film that deserves to be discovered by modern audiences. Although many "Film Noir" fans might consider the gangster films of Warner Brothers from the 1930s to be true examples of the genre, I look at them more as "Noir-Lite"--as they are more formulaic and more upbeat than the Noir films of the 40s and 50s. So although the thug that Cagney or Raft or Bogart plays in the film is tough and often uses the lingo of true Noir, you KNOW that by the end of the film the bad guy MUST lose and this is all an object lesson to us all about good and evil. But, with later Noir (as well as this film), it rose to a new level because things were often not so "cut and dry"--sometimes evil DID win or the line between good and evil was blurred. It's because of this that for a 1939 film that Le Jour Se Lève excels as a film--unlike the traditional Warner "baddies", the lead, Jean Gabin is neither good nor bad--and his story of how a normal guy can feel forced to kill that makes this film stand out from the crowd.The film begins with a murder and within moments you know that Gabin shot the victim--there is no mystery about this at all. You see how Gabin meets a nice girl and falls for her but this also ultimately leads to the murder. In many ways, this is reminiscent of the great Noir classic DOA, as the film begins you KNOW that Edmund O'Brien will die but the story leading up to it is what the focus will be.I could talk about this story further, but I don't want to spoil the suspense. Instead, let's briefly talk about the technical merit of the film. Jean Gabin was an amazing actor and while I didn't always like all of his films, I definitely admire his casual acting style. In many ways, he looks and acts like a slightly more rugged version of Spencer Tracy. This "everyman" quality make him a good choice for Noir--he's not just some "pretty boy". The supporting cast is very good as well. But the real stars, apart from Gabin, are the writers, director and cinematographer. The story works as does the dialog, the pacing and composition is great and the camera angles and lighting are superb. A fine film with little to complain about--and for me THAT'S unusual!
