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These are the user uploaded subtitles that are being translated: 1 00:00:01,418 --> 00:00:04,209 Imagine you're at the movies. 2 00:00:26,876 --> 00:00:32,293 MY JOURNEY THROUGH FRENCH CINEMA 3 00:00:46,501 --> 00:00:50,209 UNDERRATED DIRECTORS 4 00:00:50,376 --> 00:00:53,418 We all know George Orwell's famous phrase, 5 00:00:53,584 --> 00:00:58,001 "All animals are equal but some are more equal than others." 6 00:00:58,168 --> 00:01:01,251 We can apply it to neglected filmmakers. 7 00:01:01,418 --> 00:01:04,543 Some are more neglected than others. 8 00:01:05,043 --> 00:01:07,084 In particular, Jean Vallée. 9 00:01:07,793 --> 00:01:12,543 He is even the prototype of the neglected director. 10 00:01:12,709 --> 00:01:18,543 He ran a cinema that we could call an art house: L'Œil de Paris. 11 00:01:18,709 --> 00:01:23,376 And he directed the first two French films in color: 12 00:01:23,543 --> 00:01:24,543 Jeune fille à marier, 13 00:01:24,709 --> 00:01:27,834 and especially, La Terre qui meurt, from René Bazin's novel. 14 00:01:28,418 --> 00:01:30,251 He used the Francita process, 15 00:01:30,418 --> 00:01:35,418 a very complicated color process for filming and projection. 16 00:01:35,584 --> 00:01:40,918 The film was shot entirely on location in Vendée, 17 00:01:41,584 --> 00:01:43,168 in natural settings. 18 00:01:43,626 --> 00:01:47,543 Yet, for years, it was claimed 19 00:01:47,709 --> 00:01:52,293 that the first color film was Le Mariage de Ramuntcho, 20 00:01:52,459 --> 00:01:55,501 which came 11 years later. 21 00:01:55,668 --> 00:01:59,959 So there was virtually an eradication 22 00:02:00,126 --> 00:02:02,209 of all Jean Vallée's work. 23 00:02:03,668 --> 00:02:08,376 You are seeing these superb images for the first time since 1936, 24 00:02:08,626 --> 00:02:11,626 thanks to the French Film Archives (CNC), which restored them. 25 00:02:15,084 --> 00:02:17,709 What is striking is the near-documentary tone, 26 00:02:18,501 --> 00:02:21,168 the authenticity, for example, of this song, 27 00:02:21,376 --> 00:02:24,584 the precise framing, the audacity of certain choices. 28 00:02:28,501 --> 00:02:33,001 My father married me, - Oh Lord woe is me - 29 00:02:33,168 --> 00:02:37,293 To an attorney That won't do 30 00:02:37,459 --> 00:02:39,459 To an attorney 31 00:02:39,626 --> 00:02:41,293 That won't do at all 32 00:02:41,459 --> 00:02:46,418 The chief cameraman, Marcel Lucien, had worked with Rex Ingram and Renoir 33 00:02:46,584 --> 00:02:49,209 on Boudu Saved from Drowning and La Nuit du carrefour. 34 00:02:49,418 --> 00:02:53,751 And I find these underlit interiors quite daring, 35 00:02:53,918 --> 00:02:57,501 with faces in the shadows, which admirably serve 36 00:02:57,668 --> 00:03:01,251 the subject's harsh realism, 37 00:03:01,418 --> 00:03:03,126 and seems more modern 38 00:03:03,293 --> 00:03:07,584 than most color films of the 40s and 50s. 39 00:03:09,251 --> 00:03:10,126 Who is it? 40 00:03:10,293 --> 00:03:12,209 Is this The Fromentière? 41 00:03:12,376 --> 00:03:13,793 This is the place. 42 00:03:16,501 --> 00:03:18,834 The film, superbly scripted 43 00:03:19,001 --> 00:03:20,376 by Charles Spaak, 44 00:03:20,543 --> 00:03:24,293 an auteur I really rediscovered during this journey, 45 00:03:24,459 --> 00:03:27,251 gives pride of place to the female characters, 46 00:03:27,418 --> 00:03:29,251 all different and right. 47 00:03:29,584 --> 00:03:33,126 You know I've always wanted you. 48 00:03:33,293 --> 00:03:34,751 Leave me alone. 49 00:03:37,626 --> 00:03:41,084 You expect me to wait until you're master of the farm? 50 00:03:41,418 --> 00:03:43,418 That you'll never be, Maturin. 51 00:03:43,876 --> 00:03:46,293 I won't go there as a servant. 52 00:03:46,459 --> 00:03:48,043 I want to give the orders. 53 00:03:48,209 --> 00:03:49,751 It's not easy. 54 00:03:50,334 --> 00:03:53,293 My father, my brothers, those the girls might marry, 55 00:03:53,459 --> 00:03:55,501 I have to throw them out one by one. 56 00:03:55,668 --> 00:03:58,834 Pierre Larquey gives one of his finest performances, 57 00:03:59,001 --> 00:04:01,543 without mannerisms or quaintness. 58 00:04:01,709 --> 00:04:03,376 Payment is overdue. 59 00:04:05,793 --> 00:04:07,668 He's giving me an extension. 60 00:04:09,084 --> 00:04:12,084 But I don't know where to find the money I need. 61 00:04:17,918 --> 00:04:21,376 I can't sell the land and the farm. 62 00:04:21,543 --> 00:04:24,543 The fatigue, the wear of labor are palpable. 63 00:04:24,709 --> 00:04:26,459 The theme, which deals 64 00:04:26,626 --> 00:04:30,084 with a peasant who can't make a living off his land, 65 00:04:30,251 --> 00:04:32,709 is incredibly topical. 66 00:04:33,043 --> 00:04:36,251 If you don't see that values have changed, Lumineau, 67 00:04:36,418 --> 00:04:38,876 you won't sell anything. Not old or new. 68 00:04:39,043 --> 00:04:42,418 But it's wheat, dry and full. 69 00:04:42,584 --> 00:04:46,459 For the price you say, it's better to let the land rest. 70 00:04:47,501 --> 00:04:49,876 65 francs the sack, take it or leave it. 71 00:04:50,043 --> 00:04:53,834 For that price, you won't find fools who let it go. 72 00:04:54,168 --> 00:04:56,168 There are no prices for things now. 73 00:04:56,334 --> 00:04:58,293 Just people who need money 74 00:04:58,459 --> 00:05:02,001 and who sell their goods to meet pressing needs. 75 00:05:08,668 --> 00:05:11,084 Pierre Chenal, like Edmond T. Gréville, 76 00:05:11,251 --> 00:05:14,543 is one of those cinephile filmmakers. 77 00:05:14,709 --> 00:05:16,584 He said he admired 78 00:05:16,751 --> 00:05:20,543 both Potemkin and L'Âge d'or, 79 00:05:20,709 --> 00:05:22,584 American cinema and... 80 00:05:22,751 --> 00:05:24,501 German expressionism. 81 00:05:24,668 --> 00:05:27,626 They gave us an entire world, 82 00:05:27,793 --> 00:05:30,876 an acting style, 83 00:05:31,043 --> 00:05:35,834 nightmarish or dreamlike sets. 84 00:05:36,209 --> 00:05:38,584 That impressed me so much 85 00:05:38,751 --> 00:05:42,501 that I'm not ashamed to say that in my first films 86 00:05:42,668 --> 00:05:46,584 I unconsciously produced a reflection of it. 87 00:05:46,751 --> 00:05:49,668 He made important films, Crime and Punishment, 88 00:05:49,834 --> 00:05:51,751 La Maison du Maltais, 89 00:05:51,918 --> 00:05:53,126 L'Alibi. 90 00:05:53,293 --> 00:05:55,751 which had substantial budgets, 91 00:05:56,376 --> 00:05:57,418 beautiful sets, 92 00:05:57,584 --> 00:06:01,459 stars: Harry Baur, Stroheim, Louis Jouvet. 93 00:06:03,209 --> 00:06:04,876 That's a compliment, professor. 94 00:06:05,043 --> 00:06:08,334 I hope I can ply my trade as well as you do yours. 95 00:06:09,376 --> 00:06:13,376 It's harder to make out a culprit than a policeman. 96 00:06:13,543 --> 00:06:15,209 No, it's the same thing. 97 00:06:15,376 --> 00:06:17,876 Look for the one who least looks the part. 98 00:06:22,584 --> 00:06:23,668 To your health. 99 00:06:23,834 --> 00:06:25,834 - Is that ironic? - No! 100 00:06:26,001 --> 00:06:26,959 Good. 101 00:06:27,126 --> 00:06:31,584 To the arrest of Gordon's murderer. 102 00:06:31,751 --> 00:06:32,459 Gladly. 103 00:06:32,626 --> 00:06:37,959 Chenal had his film entirely in his mind's eye 104 00:06:38,751 --> 00:06:40,709 before he even began shooting. 105 00:06:40,876 --> 00:06:44,251 He knew when he needed a close-up, 106 00:06:44,918 --> 00:06:49,501 how much time this close-up would take in the editing. 107 00:07:11,501 --> 00:07:12,876 The Late Mathias Pascal 108 00:07:13,043 --> 00:07:16,876 was a new adaptation of Pirandello's novel, after Marcel L'Herbier's. 109 00:07:18,876 --> 00:07:23,751 Chenal gave the story a darkly humorous edge, 110 00:07:23,918 --> 00:07:28,251 that was somber and funny, 111 00:07:28,501 --> 00:07:31,251 and strangely fantastical. 112 00:07:34,459 --> 00:07:35,834 Who died? 113 00:07:36,709 --> 00:07:37,793 Her son. 114 00:07:39,459 --> 00:07:40,668 Her son? 115 00:07:41,751 --> 00:07:44,626 Yes, Mathias... Mathias Pascal. 116 00:07:45,543 --> 00:07:46,543 What's that? 117 00:07:47,209 --> 00:07:48,709 Mathias Pascal? 118 00:07:49,584 --> 00:07:50,668 That's me! 119 00:07:50,959 --> 00:07:51,876 What? 120 00:07:52,334 --> 00:07:54,043 That's me. 121 00:07:54,668 --> 00:07:55,793 Mathias Pascal. 122 00:07:57,459 --> 00:08:00,751 Don't joke about death, mister. It's bad luck. 123 00:08:01,626 --> 00:08:06,418 There are moments that prefigure Italian neorealism, 124 00:08:06,584 --> 00:08:10,501 as in the wedding banquet in Tuscany. 125 00:08:16,959 --> 00:08:20,668 It's cheerful here, folks marrying and people dancing. 126 00:08:20,834 --> 00:08:25,668 Here's a little bill for the newlyweds. For the champagne. 127 00:08:26,084 --> 00:08:30,793 Chenal chose Roger Vitrac, author of Victor ou les Enfants au pouvoir, 128 00:08:30,959 --> 00:08:34,501 with whom he wrote the script. 129 00:08:34,668 --> 00:08:38,209 Vitrac is only credited for additional dialogue, 130 00:08:38,376 --> 00:08:42,001 but he and Chenal wrote the script. 131 00:08:42,168 --> 00:08:45,334 Chenal worked on the scripts of all his films. 132 00:08:45,959 --> 00:08:47,668 The mail, Mr. Meis. 133 00:08:49,959 --> 00:08:51,043 Mail for me? 134 00:08:51,209 --> 00:08:52,376 Oh, no. 135 00:08:52,876 --> 00:08:54,626 Still no mail for you. 136 00:08:54,793 --> 00:08:57,543 - Then what's the meaning of this? - Nothing. 137 00:08:57,709 --> 00:09:00,251 I just came to say you still have no mail, 138 00:09:00,418 --> 00:09:02,459 and you've been here a month. 139 00:09:06,168 --> 00:09:09,959 Robert Le Vigan is an unforgettable scoundrel. 140 00:09:10,668 --> 00:09:15,376 a far cry from the fanatics he usually plays. 141 00:09:15,543 --> 00:09:17,751 You know I don't care about money. 142 00:09:17,918 --> 00:09:19,959 I'll marry Louise, without dowry. 143 00:09:20,126 --> 00:09:23,251 Only abstain from remarks about my management. 144 00:09:23,418 --> 00:09:24,834 The accounts are good. 145 00:09:25,001 --> 00:09:26,876 Good accounts make good friends. 146 00:09:27,043 --> 00:09:29,876 Shake on it, my dear. 147 00:09:30,209 --> 00:09:34,168 And then came the war. He's a Jew. 148 00:09:35,084 --> 00:09:36,376 He went into exile. 149 00:09:36,543 --> 00:09:38,251 He went to Argentina, 150 00:09:38,751 --> 00:09:43,126 where he made a number of films. 151 00:09:43,293 --> 00:09:44,334 He even made 152 00:09:44,793 --> 00:09:49,584 an adaptation of Richard Wright's famous novel, 153 00:09:49,751 --> 00:09:51,043 Native Son. 154 00:09:51,209 --> 00:09:54,293 Wright's book is a seminal work 155 00:09:54,459 --> 00:09:56,918 for black writers and intellectuals, 156 00:09:57,084 --> 00:10:02,251 denouncing racism in the US. 157 00:10:02,668 --> 00:10:05,418 When he returned to France, he'd been forgotten. 158 00:10:05,584 --> 00:10:08,209 He made several films, 159 00:10:09,043 --> 00:10:10,876 without making an impression, 160 00:10:11,043 --> 00:10:12,668 even if one of them, 161 00:10:12,834 --> 00:10:13,793 Rafles sur la ville, 162 00:10:13,959 --> 00:10:17,334 is one of the best film noir of the 1950s. 163 00:10:21,459 --> 00:10:27,543 The film boasts a remarkable jazz score by Michel Legrand. 164 00:10:27,709 --> 00:10:30,168 His second or third, I think. 165 00:10:56,793 --> 00:11:01,001 The film was enthusiastically praised by Jean-Luc Godard in Art, 166 00:11:01,168 --> 00:11:05,209 who ranked it third after Grisbi and Rififi, 167 00:11:05,376 --> 00:11:08,834 and praised the authenticity of the scenes 168 00:11:09,001 --> 00:11:13,126 between Piccoli and Danik Patisson. 169 00:11:13,501 --> 00:11:17,168 saying it was one of the rare French films 170 00:11:17,334 --> 00:11:20,459 in which a cop seemed to behave like a normal person 171 00:11:20,626 --> 00:11:23,126 for instance by bedding a friend's wife. 172 00:11:23,293 --> 00:11:27,501 Soft music, soft light, port wine. It's all here. 173 00:11:27,959 --> 00:11:29,376 You're well-informed. 174 00:11:29,543 --> 00:11:32,001 Me? It's my job. 175 00:11:32,334 --> 00:11:35,251 Go from one bachelor flat to another. 176 00:11:38,959 --> 00:11:41,126 Paul, do you believe that? 177 00:11:45,126 --> 00:11:49,334 The fur job was to save up a bundle and go abroad with you. 178 00:11:49,959 --> 00:11:54,209 Charles Vanel, whom Chenal casts against type 179 00:11:54,376 --> 00:11:58,001 in the role of the vicious killer, 180 00:11:58,168 --> 00:12:00,543 entirely devoid of human feeling. 181 00:12:01,251 --> 00:12:02,251 Sure. 182 00:12:03,334 --> 00:12:07,168 Rats are the first to desert a sinking ship. 183 00:12:07,751 --> 00:12:09,043 So that's it. 184 00:12:09,209 --> 00:12:10,709 Don't talk in proverbs. 185 00:12:10,876 --> 00:12:13,043 Do you think it's so easy? 186 00:12:13,209 --> 00:12:14,043 What's with you? 187 00:12:14,209 --> 00:12:15,793 I'm not the kind you dump. 188 00:12:15,959 --> 00:12:18,959 A little tramp like you ain't gonna squeal on me. 189 00:12:23,418 --> 00:12:26,668 It was when he saw the film that Godard had the idea 190 00:12:26,834 --> 00:12:30,126 of casting Piccoli in Contempt. 191 00:12:30,293 --> 00:12:35,334 The film is fascinating for its crispness, 192 00:12:35,501 --> 00:12:39,751 the representation of violence 193 00:12:39,918 --> 00:12:41,334 with no complacency. 194 00:12:42,543 --> 00:12:44,251 It's him, Le Fondu. 195 00:12:44,418 --> 00:12:47,043 Get him! You're a cop for another week. 196 00:12:47,793 --> 00:12:49,043 Bastard! 197 00:12:59,084 --> 00:13:00,459 Watch out! 198 00:13:10,834 --> 00:13:14,626 When I met Pierre Chenal he was living in a maid's room. 199 00:13:15,251 --> 00:13:17,543 He would be saved by Patrick Brion. 200 00:13:18,918 --> 00:13:20,834 Brion was interested in Chenal 201 00:13:21,001 --> 00:13:24,376 and programmed a number of his films on Cinéma de Minuit. 202 00:13:24,543 --> 00:13:28,251 The money he recovered in author's rights 203 00:13:28,418 --> 00:13:32,293 allowed him to live out his last years in greater comfort. 204 00:13:50,959 --> 00:13:51,834 Take cover! 205 00:14:06,251 --> 00:14:08,834 Henri Calef was Chenal's assistant, 206 00:14:09,001 --> 00:14:12,251 and like him close to the communist party. 207 00:14:12,418 --> 00:14:15,418 Being a Jew, he had to go into hiding. 208 00:14:15,584 --> 00:14:19,334 But unlike Chenal he didn't leave France. 209 00:14:20,001 --> 00:14:23,334 Unlike many, he refused to wear the yellow star. 210 00:14:23,501 --> 00:14:27,584 He lived through Occupation, continually moving about. 211 00:14:28,209 --> 00:14:29,334 He was assisted 212 00:14:29,501 --> 00:14:34,626 by people who had set up a kind of screenwriters' cooperative 213 00:14:34,793 --> 00:14:36,251 on the Côte d'Azur, 214 00:14:36,418 --> 00:14:38,668 which sold script ideas, 215 00:14:38,834 --> 00:14:41,418 and by the director Serge de Poligny, 216 00:14:41,584 --> 00:14:44,918 who hired him as assistant and technical advisor 217 00:14:45,084 --> 00:14:47,501 on La Fiancée des ténèbres. 218 00:14:47,668 --> 00:14:49,543 The war was drawing to an end 219 00:14:49,709 --> 00:14:53,084 when Calef made his first film 220 00:14:54,001 --> 00:14:56,001 which he wrote with Charles Spaak... 221 00:14:57,043 --> 00:14:59,084 ...entitled Jericho. 222 00:14:59,501 --> 00:15:02,084 The bombing of the Amiens prison, 223 00:15:02,876 --> 00:15:05,418 where at the time were interned 224 00:15:05,584 --> 00:15:09,376 resistance fighters whom the RAF 225 00:15:09,543 --> 00:15:12,626 tried to liberate before they were shot. 226 00:15:12,793 --> 00:15:18,209 I'm rather satisfied with having shown decent Frenchmen 227 00:15:18,376 --> 00:15:20,959 who die for a common cause 228 00:15:21,126 --> 00:15:23,584 without any enthusiasm 229 00:15:24,001 --> 00:15:28,251 but who resign themselves with dignity. 230 00:15:28,584 --> 00:15:31,834 The film has several characteristics. 231 00:15:32,001 --> 00:15:35,793 The first is that it is an incredibly collective film 232 00:15:35,959 --> 00:15:37,834 with no main protagonist. 233 00:15:38,001 --> 00:15:42,001 I think it is the film in that decade 234 00:15:42,168 --> 00:15:45,084 with the greatest number of protagonists. 235 00:15:45,418 --> 00:15:47,001 40 speaking roles. 236 00:15:47,168 --> 00:15:49,709 Singing a perfectly unanimous "Marseillaise" 237 00:15:49,876 --> 00:15:51,543 would be a worthy response. 238 00:15:51,709 --> 00:15:54,751 Another feature, contrary to legend, 239 00:15:54,918 --> 00:15:58,876 the film doesn't paint a univocal portrait of France. 240 00:15:59,376 --> 00:16:00,876 Don't you think? 241 00:16:01,209 --> 00:16:02,209 No. 242 00:16:02,918 --> 00:16:05,918 We say nothing, we sing nothing... 243 00:16:06,084 --> 00:16:08,459 I have two friends who were shot. 244 00:16:08,834 --> 00:16:10,543 I saw the priest with them. 245 00:16:10,709 --> 00:16:12,834 I wanted to know their last words. 246 00:16:13,001 --> 00:16:14,543 The first one went... 247 00:16:15,668 --> 00:16:17,043 And the second one... 248 00:16:21,376 --> 00:16:26,251 It's one French cinema's few epics, in the Brechtian sense, 249 00:16:26,418 --> 00:16:29,251 where each individual destiny is taken into account. 250 00:16:31,793 --> 00:16:36,293 We see resistance fighters committing attacks, making sacrifices. 251 00:16:37,334 --> 00:16:39,793 Let me go, please. 252 00:16:39,959 --> 00:16:41,876 But also collaborationists. 253 00:16:42,043 --> 00:16:43,959 I know a weapons stash. 254 00:16:45,793 --> 00:16:47,543 If you're interested. 255 00:16:47,709 --> 00:16:50,293 And a cellar with forced labor dodgers, 256 00:16:50,459 --> 00:16:52,918 Jews, communists and the like. 257 00:16:53,543 --> 00:16:56,501 I'll talk, just let me go. 258 00:16:56,668 --> 00:16:57,668 My son... 259 00:16:57,834 --> 00:17:01,001 Louis Seigner is terrific 260 00:17:01,168 --> 00:17:05,126 in this confession scene with a German military priest. 261 00:17:05,293 --> 00:17:06,584 Father, 262 00:17:07,168 --> 00:17:08,668 I'm a Catholic. 263 00:17:09,459 --> 00:17:11,376 I've always practiced. 264 00:17:12,959 --> 00:17:14,918 I've admitted my sins. 265 00:17:15,209 --> 00:17:18,126 In this final moment, I have nothing to confess. 266 00:17:20,418 --> 00:17:24,543 Yet, Father, I'm going to die a sinner. 267 00:17:24,709 --> 00:17:25,959 Admit your sins. 268 00:17:26,126 --> 00:17:27,626 Father, 269 00:17:27,793 --> 00:17:30,751 I'm going to die with hate in my heart, 270 00:17:30,918 --> 00:17:32,959 wishing evil on my brothers. 271 00:17:35,168 --> 00:17:38,376 Christ died by forgiving. 272 00:17:39,084 --> 00:17:40,834 It's too much for me. 273 00:17:42,626 --> 00:17:45,251 Father, I wish to be avenged. 274 00:17:45,959 --> 00:17:50,501 May those who tortured us in the flesh, in the mind, 275 00:17:51,251 --> 00:17:53,626 endure a terrible punishment. 276 00:17:54,751 --> 00:17:57,626 La Maison sous la mer is one of the few 277 00:17:57,793 --> 00:18:00,376 proletarian films in French cinema, 278 00:18:00,543 --> 00:18:03,626 a description of the work of miners, 279 00:18:03,793 --> 00:18:06,584 of people working in mines under the sea. 280 00:18:28,251 --> 00:18:31,668 We see their life, the meals they take in the canteen. 281 00:18:31,834 --> 00:18:34,293 The film is illuminated by the presence 282 00:18:34,459 --> 00:18:37,793 of the very young Anouk Aimée in her first film. 283 00:18:37,959 --> 00:18:40,376 Calef discovered her in the street. 284 00:18:40,543 --> 00:18:42,418 Who put pepper in my coffee? 285 00:18:42,584 --> 00:18:44,918 Don't shout, Mr. Mahé. I won't bill your coffee. 286 00:18:45,084 --> 00:18:47,126 So you get pepper every time. 287 00:18:47,293 --> 00:18:48,501 Just you try. 288 00:18:48,668 --> 00:18:53,418 Seeing the film, Jacques Prévert congratulated her and said: 289 00:18:53,584 --> 00:18:56,293 "We'll have to find you a name now, Anouk. 290 00:18:56,459 --> 00:19:00,334 "As you're going to be much loved, we'll call you Anouk Aimée." 291 00:19:04,793 --> 00:19:06,709 Among these characters, 292 00:19:06,876 --> 00:19:10,668 there is Viviane Romance, who is impressively authentic. 293 00:19:10,834 --> 00:19:13,209 It may be her best film. 294 00:19:13,376 --> 00:19:16,459 Very convincing as a worker. 295 00:19:16,626 --> 00:19:18,168 What's her ex-fiancé say? 296 00:19:18,334 --> 00:19:20,251 He talks about buying a gun. 297 00:19:21,543 --> 00:19:23,834 He should have slapped her. 298 00:19:24,543 --> 00:19:26,584 It helps some people walk straight. 299 00:19:26,751 --> 00:19:29,418 We need people who walk crooked, too. 300 00:19:29,584 --> 00:19:33,293 The best Calef film I've seen of this period 301 00:19:33,459 --> 00:19:34,293 is Bagarres. 302 00:19:34,459 --> 00:19:37,668 Terrible title. There are virtually no fights in the film. 303 00:19:37,834 --> 00:19:39,418 I'd always wanted to see it, 304 00:19:39,584 --> 00:19:43,959 and one day, lunching with Jean-Luc Godard 4-5 years ago, 305 00:19:44,959 --> 00:19:48,168 he says to me, "When will we see Bagarres again? 306 00:19:48,334 --> 00:19:49,834 "A superb film." 307 00:19:50,626 --> 00:19:54,001 Are you content with just doing my housework? 308 00:19:54,168 --> 00:19:56,376 The film is rigorous. 309 00:19:56,709 --> 00:20:01,084 It revolves around the clash between a young woman, 310 00:20:01,501 --> 00:20:04,918 who is alone, poor and foreign, 311 00:20:05,084 --> 00:20:08,251 and the rich peasant who wants her. 312 00:20:08,418 --> 00:20:10,543 Let's get it over with. 313 00:20:12,251 --> 00:20:14,084 What do you want from me? 314 00:20:14,793 --> 00:20:16,418 Come out with it. 315 00:20:17,668 --> 00:20:19,209 - Nothing. - Nothing? 316 00:20:19,584 --> 00:20:22,793 I'm sick of hearing that word. 317 00:20:23,209 --> 00:20:24,959 I'm asking you nicely. 318 00:20:25,126 --> 00:20:26,751 I want nothing from you. 319 00:20:27,376 --> 00:20:28,959 I just needed a position. 320 00:20:29,126 --> 00:20:32,293 Didn't I hire you to do everything I want? 321 00:20:32,501 --> 00:20:33,751 Not everything. 322 00:20:34,126 --> 00:20:36,668 This wealthy peasant is played 323 00:20:37,293 --> 00:20:40,793 - a brilliant idea - by Jean Brochard. 324 00:20:40,959 --> 00:20:43,334 Brochard has a force 325 00:20:45,251 --> 00:20:50,418 in his pigheadedness, bad faith and brutality. 326 00:20:50,668 --> 00:20:52,959 You can't kill him in cold blood. 327 00:20:53,126 --> 00:20:54,084 Why? You feel sick? 328 00:20:54,251 --> 00:20:57,334 Look at his eyes. He's imploring you. 329 00:20:57,501 --> 00:20:59,293 I've always had the finest dogs. 330 00:20:59,459 --> 00:21:01,334 He's done his time. 331 00:21:01,751 --> 00:21:03,168 Then let me have him. 332 00:21:03,334 --> 00:21:05,459 You gonna have him stuffed? 333 00:21:05,626 --> 00:21:06,584 Here. 334 00:21:06,751 --> 00:21:08,751 I can't watch this. 335 00:21:08,918 --> 00:21:11,459 With a pig or a calf, you're braver. 336 00:21:19,168 --> 00:21:21,168 The tone is harsh and cruel. 337 00:21:21,334 --> 00:21:23,126 He was fond of you. 338 00:21:23,293 --> 00:21:25,418 I care nothing for the useless. 339 00:21:25,584 --> 00:21:27,918 Things, animals, even men. 340 00:21:28,084 --> 00:21:31,876 You can feel Calef's passion, 341 00:21:32,043 --> 00:21:34,626 to which the author of the novel, Jean Proal, 342 00:21:35,376 --> 00:21:39,543 pays a moving tribute that throws real light on Calef. 343 00:21:41,376 --> 00:21:43,626 "I saw you cling to your film, 344 00:21:43,793 --> 00:21:47,084 "like a peasant clings to his land. 345 00:21:47,834 --> 00:21:50,043 "I saw you bear the weight, alone, 346 00:21:50,209 --> 00:21:53,376 "against stupidity, incomprehension, 347 00:21:53,543 --> 00:21:58,001 "against ill will, self-esteem, and pride. 348 00:21:59,209 --> 00:22:03,293 "I saw you slowly make your way, head-on, with clenched fists 349 00:22:03,459 --> 00:22:05,001 "and gritted teeth. 350 00:22:05,168 --> 00:22:08,876 "And so, between us, a great friendship was formed." 351 00:22:16,834 --> 00:22:19,334 His last film deserves mention. 352 00:22:19,501 --> 00:22:22,834 It's the story of a German who ran a concentration camp, 353 00:22:23,001 --> 00:22:26,084 and who, sensing the end of the war, 354 00:22:26,251 --> 00:22:28,668 tattoos a deportee number on his skin 355 00:22:28,834 --> 00:22:33,126 and goes to hide out in Israel, where he makes his fortune. 356 00:22:37,126 --> 00:22:38,668 The film was never released. 357 00:22:38,834 --> 00:22:41,459 I think the distributor went bankrupt. 358 00:22:41,626 --> 00:22:43,876 It was filmed entirely in Israel. 359 00:22:44,043 --> 00:22:48,543 Screenplay: Henri Calef, Edgar Morin, Maurice Clavel. 360 00:22:48,709 --> 00:22:51,751 Dialogue: Edgar Morin under a pseudonym. 361 00:22:57,543 --> 00:23:01,626 Will you always love me? No matter what happens? 362 00:23:03,168 --> 00:23:04,793 Whoever I am? 363 00:23:06,168 --> 00:23:09,084 Whoever you are, so long as it's you. 364 00:23:14,668 --> 00:23:17,959 Everything goes fine. He's accepted by the community. 365 00:23:18,126 --> 00:23:20,876 Until the day an American historian arrives. 366 00:23:21,293 --> 00:23:23,043 What do you want from me? 367 00:23:26,001 --> 00:23:29,001 I'm doing research on adapting to life in Israel 368 00:23:29,168 --> 00:23:32,418 for German Jews who survived the camps. 369 00:23:32,584 --> 00:23:36,251 And this American historian forces the German 370 00:23:36,418 --> 00:23:38,626 to talk about the concentration camp, 371 00:23:38,793 --> 00:23:41,001 but from the victims' viewpoint, 372 00:23:41,168 --> 00:23:43,793 whereas he was one of the executioners. 373 00:23:43,959 --> 00:23:46,459 An extraordinary subject. 374 00:23:46,918 --> 00:23:49,959 This produces sometimes didactic scenes, 375 00:23:50,126 --> 00:23:53,459 but that's the point, and the film's originality. 376 00:23:53,626 --> 00:23:55,501 That didacticism. 377 00:23:55,668 --> 00:23:58,209 It is remarkable regarding the rapport 378 00:23:58,376 --> 00:24:00,251 between executioner and victim, 379 00:24:00,418 --> 00:24:02,293 and the executioner's responsibility. 380 00:24:02,459 --> 00:24:06,209 The deportations to the concentration camps. 381 00:24:09,793 --> 00:24:11,709 The death camps. 382 00:24:12,876 --> 00:24:14,709 The deaths of one, two, 383 00:24:14,876 --> 00:24:16,709 three, four, 384 00:24:16,876 --> 00:24:19,209 five, of six million Jews. 385 00:24:20,168 --> 00:24:21,209 Tortured, 386 00:24:22,209 --> 00:24:23,501 murdered, 387 00:24:24,459 --> 00:24:25,626 burned. 388 00:24:37,084 --> 00:24:39,209 Photographed by Claude Renoir, 389 00:24:39,376 --> 00:24:41,501 music by Henri Sauguet, 390 00:24:41,668 --> 00:24:44,918 it was Calef's last important film 391 00:24:45,626 --> 00:24:47,793 and the counterpart to Jericho. 392 00:24:48,418 --> 00:24:51,043 He confessed to being a war criminal. 393 00:24:51,459 --> 00:24:53,626 Conclusion: death. 394 00:24:53,834 --> 00:24:55,668 We'll act as in the Resistance. 395 00:24:55,834 --> 00:24:58,501 I think we should let him go. 396 00:25:00,584 --> 00:25:02,793 Conscience incited him to make amends, 397 00:25:02,959 --> 00:25:07,168 or he wouldn't have done what he has for the past 12 years. 398 00:25:07,543 --> 00:25:12,543 He wanted to atone for his actions, otherwise he wouldn't have stayed, 399 00:25:12,709 --> 00:25:15,126 until the moment of revelation. 400 00:25:15,668 --> 00:25:17,543 He would have fled earlier. 401 00:25:18,834 --> 00:25:20,709 For me, leaving him free is... 402 00:25:21,084 --> 00:25:24,209 It's the best way, the only way, 403 00:25:25,251 --> 00:25:27,584 to develop his conscience. 404 00:25:29,001 --> 00:25:30,918 It's both the possibility 405 00:25:31,418 --> 00:25:35,126 of making reparations and redeeming himself. 406 00:25:37,084 --> 00:25:40,168 It won't bring him happiness. It will even cause him 407 00:25:40,626 --> 00:25:42,168 suffering. 408 00:25:43,751 --> 00:25:49,084 WOMEN DIRECTORS 409 00:25:49,376 --> 00:25:51,251 In the history of French cinema, 410 00:25:51,418 --> 00:25:54,126 until the arrival of Agnès Varda, 411 00:25:54,459 --> 00:25:58,251 you could count women directors on the fingers of one hand, 412 00:25:59,084 --> 00:26:01,084 if you subtract the two names 413 00:26:01,251 --> 00:26:03,584 of female directors in silent film, 414 00:26:03,751 --> 00:26:06,376 Alice Guy and Germaine Dulac. 415 00:26:07,001 --> 00:26:11,501 I think we have to look at the social and political context. 416 00:26:11,668 --> 00:26:16,084 And point out that while there were few women directors - five - 417 00:26:16,251 --> 00:26:19,001 at least until 1947, 418 00:26:19,168 --> 00:26:21,793 there were more women filmmakers 419 00:26:21,959 --> 00:26:24,626 than there were women in political office. 420 00:26:24,793 --> 00:26:28,251 All that, in addition to 421 00:26:28,418 --> 00:26:32,793 the macho, masculine atmosphere of film crews, 422 00:26:32,959 --> 00:26:37,834 didn't facilitate 423 00:26:38,001 --> 00:26:39,043 the advent of women. 424 00:26:39,209 --> 00:26:41,001 There were women in the film crews, 425 00:26:41,543 --> 00:26:43,834 as script girls, as editors, 426 00:26:44,668 --> 00:26:48,084 but as directors it seemed impossible. 427 00:26:48,251 --> 00:26:50,543 There are few women at IDHEC. 428 00:26:50,709 --> 00:26:53,459 First, there was a barrier against women. 429 00:26:53,626 --> 00:26:55,459 It's no secret. I can say it. 430 00:26:55,626 --> 00:26:59,168 Very few women were admitted, especially in directing. 431 00:26:59,334 --> 00:27:01,168 Other schools have few women. 432 00:27:01,334 --> 00:27:04,876 There is maybe one school where there are a few more. 433 00:27:05,043 --> 00:27:07,834 It's a television school, not a film school. 434 00:27:08,001 --> 00:27:09,543 How do you explain this barrier? 435 00:27:10,168 --> 00:27:13,334 I don't know. For a very long time, 436 00:27:13,501 --> 00:27:16,501 there was a kind of bias against women. 437 00:27:16,668 --> 00:27:19,418 They weren't trusted to direct. 438 00:27:19,584 --> 00:27:22,126 I don't mean for the other film crafts, but for directing. 439 00:27:22,293 --> 00:27:27,293 So, who were these women who overcame these hurdles? 440 00:27:28,001 --> 00:27:30,043 In the 1940s, 441 00:27:30,209 --> 00:27:34,584 there was a woman filmmaker who was long underrated, 442 00:27:34,751 --> 00:27:36,251 Jacqueline Audry. 443 00:27:40,084 --> 00:27:42,626 Fine, let him wait. 444 00:27:42,793 --> 00:27:48,459 The only director to treat a taboo theme in French cinema: 445 00:27:48,626 --> 00:27:51,418 Female dissatisfaction. 446 00:27:51,584 --> 00:27:53,668 Sexual dissatisfaction. 447 00:27:53,834 --> 00:27:57,251 She would prove to be very bold. 448 00:27:57,418 --> 00:28:00,668 You can't imagine how brilliant I am between 5 and 7. 449 00:28:02,793 --> 00:28:04,709 I'm more a morning person. 450 00:28:05,543 --> 00:28:07,334 Although, in the afternoon, 451 00:28:07,626 --> 00:28:09,543 or very late at night... 452 00:28:09,709 --> 00:28:10,918 Quite a temperament. 453 00:28:11,084 --> 00:28:12,168 Wait. 454 00:28:12,334 --> 00:28:13,626 Minne's said nothing. 455 00:28:13,793 --> 00:28:16,584 I don't know. I'm too young. 456 00:28:17,501 --> 00:28:18,626 I'll talk after her. 457 00:28:18,793 --> 00:28:21,043 It depends with whom. 458 00:28:21,209 --> 00:28:22,668 But any time is good. 459 00:28:22,834 --> 00:28:26,043 You go straight to the point about your little death. 460 00:28:26,209 --> 00:28:28,168 Little death? No, that's not it. 461 00:28:28,334 --> 00:28:30,626 It's like when a swing goes too high. 462 00:28:30,793 --> 00:28:32,334 It splits you in two... Ah! 463 00:28:32,501 --> 00:28:34,209 Or else you go, Mama! 464 00:28:34,668 --> 00:28:36,293 Don't laugh, Maugis. 465 00:28:36,459 --> 00:28:37,543 And then we do it again. 466 00:28:37,709 --> 00:28:39,251 Again? 467 00:28:39,418 --> 00:28:41,168 Good for the swing! 468 00:28:41,334 --> 00:28:43,751 I think you're all selfish. 469 00:28:44,209 --> 00:28:46,418 The pleasure I give can surpass my own. 470 00:28:46,584 --> 00:28:50,293 It's not like a swing at all. 471 00:28:50,709 --> 00:28:54,251 For me, it's like going through the roof. A gong in my ears. 472 00:28:54,418 --> 00:28:57,376 An apotheosis that I have coming. 473 00:28:58,126 --> 00:29:01,001 She was strong, muscular, 474 00:29:01,168 --> 00:29:04,126 stubborn, authoritarian, artistic and... 475 00:29:04,293 --> 00:29:05,376 Almost a man. 476 00:29:06,126 --> 00:29:08,043 Yes. She was very feminine. 477 00:29:08,793 --> 00:29:12,043 Very feminine. She was with Pierre Laroche. 478 00:29:13,626 --> 00:29:16,543 What I found terrific about her 479 00:29:16,709 --> 00:29:20,293 is that she was the first woman 480 00:29:20,459 --> 00:29:22,918 to make it in the movies. 481 00:29:23,084 --> 00:29:25,709 She had a hard time on the set 482 00:29:26,543 --> 00:29:28,751 proving that she was in charge. 483 00:29:28,918 --> 00:29:32,668 On a set, you have the entire crew. 484 00:29:32,834 --> 00:29:34,084 Yes, she was terrific. 485 00:29:34,251 --> 00:29:36,501 Beneath her refined exterior, 486 00:29:36,668 --> 00:29:40,251 concealed behind the charms of the Belle Époque, 487 00:29:40,418 --> 00:29:42,668 behind the elegant sets, 488 00:29:42,834 --> 00:29:44,876 the sophisticated costumes... 489 00:29:45,043 --> 00:29:48,584 All that is a kind of sugar-coated setting, 490 00:29:48,751 --> 00:29:53,959 behind which are among the least prudish scenes 491 00:29:54,126 --> 00:29:55,876 in French cinema of the time. 492 00:29:56,709 --> 00:29:59,043 Jealous of so much beauty? 493 00:30:00,709 --> 00:30:03,918 You'll never be beautiful, but you have your share. 494 00:30:04,668 --> 00:30:07,543 A pretty gaze, a pretty mouth. 495 00:30:08,543 --> 00:30:10,168 A pretty body. 496 00:30:10,834 --> 00:30:13,918 A good deal of grace, which can be preferable. 497 00:30:15,418 --> 00:30:17,751 If I wanted to kiss you, charming Hindu, 498 00:30:17,918 --> 00:30:20,126 how could I with these veils? 499 00:30:21,084 --> 00:30:23,126 Come close, for a secret. 500 00:30:25,251 --> 00:30:27,043 I'll come this evening. 501 00:30:28,459 --> 00:30:30,459 You'll hurt your eyes. 502 00:30:31,001 --> 00:30:33,584 What are you reading at this hour? 503 00:30:34,209 --> 00:30:35,043 "The Lake." 504 00:30:35,209 --> 00:30:36,668 To learn it by heart? 505 00:30:36,834 --> 00:30:39,543 To summon the sound of your voice. 506 00:30:41,959 --> 00:30:44,126 "O time, suspend your flight. 507 00:30:45,084 --> 00:30:49,293 "And you, happy hours, suspend your swift passage. 508 00:30:50,418 --> 00:30:53,501 "Let us savor the fleeting delights, 509 00:30:53,668 --> 00:30:55,668 "Of our most happy days." 510 00:30:56,751 --> 00:30:57,834 There. 511 00:30:59,418 --> 00:31:01,251 Now you must rest. 512 00:31:05,209 --> 00:31:06,668 Close your eyes. 513 00:31:22,876 --> 00:31:24,668 Come now, Olivia. 514 00:31:26,001 --> 00:31:28,293 You are too passionate, my child. 515 00:31:32,084 --> 00:31:33,501 Good night. 516 00:31:41,334 --> 00:31:43,001 Hello, Madam Director. 517 00:31:43,459 --> 00:31:44,834 None of that. 518 00:31:45,709 --> 00:31:49,168 I admit, a director is what I am. I'm a director. 519 00:31:49,334 --> 00:31:52,668 But it was very hard to get here. 520 00:31:53,084 --> 00:31:56,001 Now I can say I'm a director. 521 00:31:56,168 --> 00:32:00,043 I have 16 or 17 films to my credit. 522 00:32:00,209 --> 00:32:02,543 I'd have made a lot more as a man. 523 00:32:02,918 --> 00:32:04,834 With the aid of her husband, 524 00:32:05,001 --> 00:32:06,876 the screenwriter Pierre Laroche, 525 00:32:07,043 --> 00:32:09,168 a colleague of Prévert, 526 00:32:09,334 --> 00:32:12,793 Jacqueline Audry would write several caustic screenplays. 527 00:32:12,959 --> 00:32:15,918 They freely adapted Les Malheurs de Sophie, 528 00:32:16,084 --> 00:32:20,501 imagining Sophie's adult life in the second part of the film... 529 00:32:20,668 --> 00:32:21,793 Your hand, my friend. 530 00:32:21,959 --> 00:32:24,501 ...adding an entire social context. 531 00:32:25,084 --> 00:32:27,001 Excuse me. It's a bit dirty. 532 00:32:27,168 --> 00:32:28,751 Don't apologize, my friend. 533 00:32:28,918 --> 00:32:30,584 I am sorry, Mr. Prefect. 534 00:32:30,751 --> 00:32:32,584 The grit of labor, Mr. Mayor. 535 00:32:32,751 --> 00:32:36,001 The grit of labor never soiled the worker. 536 00:32:36,168 --> 00:32:37,293 It honors him. 537 00:32:37,459 --> 00:32:38,626 Well spoken. 538 00:32:38,876 --> 00:32:41,084 I'm pleased with my coinage. 539 00:32:42,334 --> 00:32:45,001 Taking a very feminist tone. 540 00:32:45,501 --> 00:32:48,168 My dear Sophie, here in a word 541 00:32:48,334 --> 00:32:52,293 is what your family requested that I tell you: 542 00:32:52,459 --> 00:32:55,793 Prepare yourself for great happiness. 543 00:32:55,959 --> 00:33:00,751 Your uncle and aunt have decided to marry you to Mr. Armand Hugon. 544 00:33:00,918 --> 00:33:03,001 - Marry me? - Yes. 545 00:33:03,168 --> 00:33:07,126 Mr. Armand Hugon is a young man from an excellent family 546 00:33:07,293 --> 00:33:09,209 and has a fine physique. 547 00:33:09,376 --> 00:33:13,418 His manners are impeccable and his expectations enviable. 548 00:33:13,584 --> 00:33:14,876 Be happy. 549 00:33:15,043 --> 00:33:16,251 But I don't know him. 550 00:33:16,418 --> 00:33:18,501 It's a chance to meet him. 551 00:33:18,668 --> 00:33:19,668 But I don't love him. 552 00:33:19,834 --> 00:33:22,293 You're not asked to love your fiancé. 553 00:33:22,459 --> 00:33:25,918 Such sentiments are expected of your husband. 554 00:33:26,334 --> 00:33:29,626 My entire professional life 555 00:33:29,793 --> 00:33:33,251 has been something of a tournament, a battle 556 00:33:34,459 --> 00:33:37,793 to really introduce women 557 00:33:37,959 --> 00:33:39,793 into film directing. 558 00:33:39,959 --> 00:33:42,793 Not only Jacqueline Audry but women. 559 00:33:45,918 --> 00:33:48,543 In spite of everything, it's been a long battle. 560 00:33:50,001 --> 00:33:52,876 Don't take them this way, they'll destroy the crop. 561 00:33:53,043 --> 00:33:54,168 To the marshes! 562 00:33:54,334 --> 00:33:57,168 I wasn't expecting La Caraque blonde, 563 00:33:57,334 --> 00:34:00,209 usually described as a French western, 564 00:34:00,376 --> 00:34:01,959 to be this peasant drama. 565 00:34:02,126 --> 00:34:04,293 The story of a rivalry 566 00:34:04,459 --> 00:34:06,834 between herdsmen and rice farmers. 567 00:34:07,543 --> 00:34:08,876 An odd subject, 568 00:34:09,293 --> 00:34:12,584 produced and most of all written by Paul Ricard. 569 00:34:13,043 --> 00:34:15,376 Yes, the Paul Ricard of pastis fame, 570 00:34:15,543 --> 00:34:18,584 who also imposed Tilda Thamar, 571 00:34:19,376 --> 00:34:22,376 the Argentine bombshell, in the title role. 572 00:34:23,334 --> 00:34:26,293 Calm down, Blonde Gypsy, it's not a mare. 573 00:34:26,459 --> 00:34:29,793 An idea that was incongruous and absurd 574 00:34:29,959 --> 00:34:32,251 which destabilizes the film. 575 00:34:33,918 --> 00:34:37,501 Still, there are some stunning images 576 00:34:37,668 --> 00:34:39,959 of nocturnal and twilight rides, 577 00:34:40,126 --> 00:34:42,751 photographed by Marcel Weiss, 578 00:34:42,918 --> 00:34:46,543 shots that are unique in the French adventure film. 579 00:34:48,001 --> 00:34:49,418 In the 1950s, 580 00:34:49,584 --> 00:34:51,918 suddenly there would be a thunderclap: 581 00:34:52,084 --> 00:34:55,543 the arrival of Agnès Varda with La Pointe courte. 582 00:34:55,709 --> 00:34:59,793 From then on, things began to change. 583 00:34:59,959 --> 00:35:01,918 It would take some time. 584 00:35:02,084 --> 00:35:06,501 Since I knew Henri, his profession appealed to me. 585 00:35:06,668 --> 00:35:09,501 I was happy to become a baker's wife. 586 00:35:09,668 --> 00:35:11,168 And also, 587 00:35:12,459 --> 00:35:14,751 he was a rather handsome fellow. 588 00:35:16,793 --> 00:35:20,084 At the same time as La Pointe courte, she would make 589 00:35:20,251 --> 00:35:24,543 a number of shorts, that are marvelous successes. 590 00:35:24,709 --> 00:35:27,334 I have a charmed memory of the films 591 00:35:27,501 --> 00:35:30,459 she made on rue Daguerre. 592 00:35:33,126 --> 00:35:36,876 Every morning, the curtain rises on the theater of everyday life. 593 00:35:37,043 --> 00:35:38,709 We know its repertoire by heart. 594 00:35:38,876 --> 00:35:43,293 Its stars are bread, milk, hardware, meat and clean linens. 595 00:35:43,459 --> 00:35:47,293 But also, the correct time, short hair and ever the accordion. 596 00:35:47,918 --> 00:35:51,543 She took some fabulous snapshots, 597 00:35:51,876 --> 00:35:57,376 real slices of French working class life. 598 00:36:04,043 --> 00:36:08,418 He plays the cello You play the piano 599 00:36:08,584 --> 00:36:12,626 And me, and me I play at giving you the eye 600 00:36:12,793 --> 00:36:17,001 I play, it's crazy At giving you the eye 601 00:36:17,168 --> 00:36:21,126 You play on your piano The black and white keys 602 00:36:21,293 --> 00:36:25,751 And me, and me I play with my hips 603 00:36:25,918 --> 00:36:30,293 I play, it's crazy, with my hips 604 00:36:30,459 --> 00:36:34,501 He plays the English horn You play the banjo 605 00:36:34,668 --> 00:36:38,959 And me, and me I play against you 606 00:36:39,126 --> 00:36:40,376 It's crazy! 607 00:36:44,418 --> 00:36:46,543 Agnès Varda would open doors 608 00:36:46,709 --> 00:36:50,834 and would be followed in the 1960s 609 00:36:51,543 --> 00:36:54,043 by women like Nelly Kaplan, 610 00:36:54,209 --> 00:36:59,459 who had worked as assistant to Abel Gance 611 00:36:59,626 --> 00:37:02,834 and had helped him 612 00:37:03,001 --> 00:37:06,876 on certain experimental films. 613 00:37:07,376 --> 00:37:12,168 She would go on to direct her first film, the sensational 614 00:37:12,334 --> 00:37:13,584 La Fiancée du pirate. 615 00:37:13,751 --> 00:37:17,084 Listen to me, Tisane, I have two things to tell you: 616 00:37:17,251 --> 00:37:21,043 First, I don't give a hoot about what people think of me. 617 00:37:21,209 --> 00:37:25,834 Second, anyone who's tired and wants to rest here has to pay, 618 00:37:26,001 --> 00:37:27,543 like everyone else. 619 00:37:27,709 --> 00:37:29,209 You're crazy. 620 00:37:29,626 --> 00:37:32,501 I came only to warn you. And I have no money on me. 621 00:37:33,376 --> 00:37:36,584 - And that nice watch? - A gift from my late father. 622 00:37:36,751 --> 00:37:37,709 Give it here. 623 00:37:40,168 --> 00:37:41,918 The chain too, please. 624 00:38:23,376 --> 00:38:27,084 Grangier is a modest director 625 00:38:27,251 --> 00:38:30,418 but someone who had several successful films, 626 00:38:30,584 --> 00:38:33,793 successes that were very particular. 627 00:38:33,959 --> 00:38:36,293 That's why I say he's an auteur. 628 00:38:36,459 --> 00:38:39,418 For example, the small body of work 629 00:38:39,584 --> 00:38:44,126 - crime films, film noir and thrillers - that he made, 630 00:38:44,668 --> 00:38:48,959 this small body of work is different from the thrillers of the time. 631 00:38:49,126 --> 00:38:53,834 They are films that don't have the arbitrary harshness 632 00:38:54,001 --> 00:38:56,418 that we sense in many thrillers. 633 00:38:56,584 --> 00:38:58,376 On the contrary, 634 00:38:58,543 --> 00:39:00,959 Grangier's films are more modest, 635 00:39:01,126 --> 00:39:03,876 attentive to popular milieus, 636 00:39:04,043 --> 00:39:06,959 which he generally describes with accuracy. 637 00:39:07,126 --> 00:39:10,501 There's an affability that curbs any pessimism. 638 00:39:10,668 --> 00:39:13,209 I like to say 639 00:39:14,334 --> 00:39:17,876 that in his best films, he's a sort of minor Jacques Becker. 640 00:39:20,293 --> 00:39:23,543 These are films that show an attention 641 00:39:23,709 --> 00:39:25,126 to a certain France 642 00:39:25,293 --> 00:39:29,709 that would somewhat disappear in the cinema of the 1960s. 643 00:39:36,751 --> 00:39:41,001 Gas Oil merely dramatizes people at work. 644 00:39:42,084 --> 00:39:45,709 I hate to ruin your fond adieus, but Paris is 300 miles away. 645 00:39:45,876 --> 00:39:49,501 The life of truck drivers, the rapport between Gabin and Bozzuffi, 646 00:39:49,668 --> 00:39:54,793 is very typical of what Grangier does best. 647 00:39:54,959 --> 00:39:58,376 He knows these people, how they behave at a bar. 648 00:39:58,543 --> 00:40:02,043 He knows how they talk, how they play cards. 649 00:40:02,209 --> 00:40:06,251 He conveys this truth, which lends merit to a series of films. 650 00:40:06,418 --> 00:40:08,959 Your wife gave me chitterling sausage again! 651 00:40:09,126 --> 00:40:09,918 Don't like it? 652 00:40:10,084 --> 00:40:12,501 She's known it for 20 years. 653 00:40:12,668 --> 00:40:15,584 And she knows wool undershirts make me itch. 654 00:40:15,751 --> 00:40:17,084 Look. 655 00:40:17,251 --> 00:40:20,376 Okay, but you married her, I didn't. 656 00:40:20,543 --> 00:40:23,043 Shut up. I should be jealous. 657 00:40:23,459 --> 00:40:25,293 Kiss her for me anyway. 658 00:40:25,459 --> 00:40:27,168 Hey, Pierrot, need a lift? 659 00:40:27,334 --> 00:40:29,334 No, I'm staying here. 660 00:40:29,751 --> 00:40:31,418 So long, everybody! 661 00:40:34,376 --> 00:40:38,876 Before these movies, Grangier worked in a variety of genres. 662 00:40:39,043 --> 00:40:42,959 He made comedies. He worked with Noël-Noël. 663 00:40:43,126 --> 00:40:48,043 He directed a comedy scripted by René Wheeler, a writer he liked. 664 00:40:48,209 --> 00:40:49,918 Histoire de chanter. 665 00:40:50,084 --> 00:40:52,418 The premise is so extravagant 666 00:40:52,584 --> 00:40:54,793 it deserves telling. 667 00:40:54,959 --> 00:40:58,209 A mad surgeon, Noël Roquevert, I think, 668 00:40:58,376 --> 00:41:01,626 grafts Carette's vocal cords on Luis Mariano, 669 00:41:01,793 --> 00:41:03,334 and Mariano's on Carette. 670 00:41:03,918 --> 00:41:06,043 - You're a witness. - So it seems. 671 00:41:06,209 --> 00:41:07,418 Repeat what he said. 672 00:41:07,584 --> 00:41:08,709 He said, 673 00:41:10,709 --> 00:41:13,876 "I put Gino Fabretti's vocal cords in your throat." 674 00:41:14,834 --> 00:41:17,668 Proof he was dreaming. You dream under anesthesia. 675 00:41:17,834 --> 00:41:20,418 So you admit you operated on him. 676 00:41:44,334 --> 00:41:46,043 You can really sing? 677 00:41:52,084 --> 00:41:54,668 It's Gino Fabretti's voice! 678 00:41:54,834 --> 00:41:56,459 One day, Gabin comes to see me. 679 00:41:56,626 --> 00:41:59,168 I was shooting something with Périer. 680 00:41:59,334 --> 00:42:01,209 Les Jeunes mariés. 681 00:42:02,834 --> 00:42:06,126 And a technician says to me, "Gabin is waiting for you outside." 682 00:42:06,293 --> 00:42:09,209 - I say, "Bring him in." - "He won't come." 683 00:42:09,376 --> 00:42:11,709 So I go out to Jean. "Why don't you come in?" 684 00:42:11,876 --> 00:42:16,751 "I didn't want to bother you. I don't like people bugging me." 685 00:42:16,918 --> 00:42:19,251 He says, "We're doing a film together." 686 00:42:19,876 --> 00:42:24,084 "Is this a joke?" I didn't believe him. 687 00:42:24,251 --> 00:42:28,126 He says, "I went to see your friends at Sirius about doing a film. 688 00:42:28,293 --> 00:42:29,751 "Not bad. La Vierge du Rhin." 689 00:42:30,251 --> 00:42:33,043 - A novel by Nord, I think. - Pierre Nord. 690 00:42:34,751 --> 00:42:38,459 He says, "They gave me 2-3 names to choose from. I picked yours." 691 00:42:38,626 --> 00:42:41,793 As we know each other a bit, we get along. 692 00:42:41,959 --> 00:42:44,543 It began as dumb as that. 693 00:42:44,709 --> 00:42:47,084 Since we were shooting in Strasbourg, 694 00:42:47,251 --> 00:42:52,084 on location, I mean, we lived together around the clock. 695 00:42:52,251 --> 00:42:53,334 We became friends, 696 00:42:53,501 --> 00:42:57,376 and at the end, Jean didn't think he'd performed well. 697 00:42:57,543 --> 00:42:59,209 So he says, "I owe you one." 698 00:42:59,376 --> 00:43:01,084 And he added, 699 00:43:01,251 --> 00:43:06,084 "If our wives get along, I think we can work together more." 700 00:43:06,251 --> 00:43:08,459 That's how couples are formed! 701 00:43:08,626 --> 00:43:12,501 I remember going to introduce Gabin to Audiard 702 00:43:12,668 --> 00:43:16,126 when Audiard was living on Boulevard Port Royal. 703 00:43:16,293 --> 00:43:19,251 Michel had come on hard times. 704 00:43:19,418 --> 00:43:22,376 He didn't have much money. 705 00:43:22,668 --> 00:43:26,709 I remember his kids' laundry - he already had one or two - 706 00:43:26,876 --> 00:43:29,543 was hanging to dry in the main room. 707 00:43:29,709 --> 00:43:32,209 Gabin pulled the shirts aside 708 00:43:32,376 --> 00:43:36,543 to get to the office where Michel was waiting for us. 709 00:43:37,043 --> 00:43:39,209 And it was love at first sight. 710 00:43:39,376 --> 00:43:42,251 Grangier says something terrific, 711 00:43:42,418 --> 00:43:45,876 that when he brought Gabin Audiard's script for Gas Oil 712 00:43:46,043 --> 00:43:47,668 - it was Grangier's idea 713 00:43:47,834 --> 00:43:50,626 to have Audiard write the script - 714 00:43:50,793 --> 00:43:52,418 Gabin reads it and says, 715 00:43:52,584 --> 00:43:55,376 "Your thing is BSA off track." 716 00:43:56,126 --> 00:43:59,084 And no one understood what he meant except Grangier, 717 00:43:59,251 --> 00:44:03,834 who like Gabin was a fan of the Montrouge velodrome. 718 00:44:05,126 --> 00:44:09,334 And he knew there was a curve where there was an ad 719 00:44:09,501 --> 00:44:13,209 for BSA, "The best ball bearings off track," 720 00:44:13,376 --> 00:44:15,376 and Grangier understood that. 721 00:44:15,543 --> 00:44:18,543 It's stuff like that 722 00:44:18,709 --> 00:44:21,584 that creates a connection between director and actor. 723 00:44:22,876 --> 00:44:25,293 Let me embrace you, dear boy. 724 00:44:25,459 --> 00:44:27,793 Let me look at you. 725 00:44:28,334 --> 00:44:30,084 Ah, yes. 726 00:44:30,709 --> 00:44:33,418 Jacques Callot's bold chin, Dürer's forehead. 727 00:44:33,584 --> 00:44:35,876 Some signs are unmistakable. 728 00:44:36,043 --> 00:44:37,834 What's your name, child? 729 00:44:38,001 --> 00:44:38,918 Robert Mideau, sir. 730 00:44:39,084 --> 00:44:40,501 Let me call you Robert. 731 00:44:40,668 --> 00:44:45,126 I insist. Just Robert. Like we say Raphael. Or Leonard. 732 00:44:45,293 --> 00:44:49,168 Dear little wizard. Child blessed by fairies. 733 00:44:51,293 --> 00:44:52,876 Isn't he overdoing it? 734 00:44:53,043 --> 00:44:55,126 He's just warming up. 735 00:44:55,584 --> 00:44:58,376 There's something in Grangier's work method 736 00:44:58,543 --> 00:45:00,584 that inspires Audiard. 737 00:45:00,959 --> 00:45:02,584 I'd like to give two examples. 738 00:45:02,751 --> 00:45:06,418 The end of Le Sang à la tête, which I find magnificent. 739 00:45:07,084 --> 00:45:09,001 On the Île de Ré ferry, 740 00:45:09,168 --> 00:45:12,418 when Gabin talks to his wife, 741 00:45:12,584 --> 00:45:15,251 who has just returned to him... 742 00:45:19,418 --> 00:45:20,584 It's you. 743 00:45:21,709 --> 00:45:23,168 See? I was coming home. 744 00:45:23,334 --> 00:45:24,584 I know. 745 00:45:24,751 --> 00:45:25,834 Think it's funny? 746 00:45:26,001 --> 00:45:28,043 You don't know why. 747 00:45:28,209 --> 00:45:29,001 I can guess. 748 00:45:29,168 --> 00:45:30,459 No, you can't. 749 00:45:35,709 --> 00:45:37,418 Remember? We were like them. 750 00:45:37,584 --> 00:45:40,543 We gazed at the sea dreaming of furniture on credit. 751 00:45:40,709 --> 00:45:44,084 But for happiness, you pay cash. Here's the proof. 752 00:45:44,918 --> 00:45:48,376 For 12 years we shared a bed, but had separate dreams. 753 00:45:49,043 --> 00:45:52,876 That was my fault. I blew it all. I lost you along the way. 754 00:45:53,209 --> 00:45:57,543 Now that we know the road, we'll take it again, together. 755 00:45:57,709 --> 00:46:01,668 Nice and easy, like we were taking a driving test. 756 00:46:01,834 --> 00:46:06,793 A common misconception holds 1950s French cinema to be studio cinema. 757 00:46:06,959 --> 00:46:08,251 It wasn't always. 758 00:46:08,418 --> 00:46:09,543 In particular, 759 00:46:09,709 --> 00:46:11,751 Grangier shot a lot on location. 760 00:46:11,918 --> 00:46:13,876 Certain films contemporary with Bob le Flambeur 761 00:46:14,043 --> 00:46:17,001 have as many exteriors as Bob. 762 00:46:17,168 --> 00:46:20,126 Much of Le Sang à la tête was shot in La Rochelle. 763 00:46:20,293 --> 00:46:24,709 We see Gabin in the fish market, we see him in the port. 764 00:46:24,876 --> 00:46:29,584 This film is one of the best Simenon adaptations, 765 00:46:29,751 --> 00:46:31,126 very controlled. 766 00:46:32,084 --> 00:46:33,209 Give me a grog. 767 00:46:33,376 --> 00:46:35,043 With orange blossom. 768 00:46:36,793 --> 00:46:38,834 Glad to see you, Madam Babin. 769 00:46:39,001 --> 00:46:40,626 I'd like a word with you. 770 00:46:40,793 --> 00:46:42,043 Go on. 771 00:46:42,209 --> 00:46:44,084 I'm listening. 772 00:46:44,251 --> 00:46:47,834 I'd rather see you in my office or at home, if you want. 773 00:46:48,001 --> 00:46:50,251 I'm at home everywhere. Especially here. 774 00:46:50,418 --> 00:46:52,209 What do you want to know? 775 00:46:52,626 --> 00:46:55,293 I want to know where Mimile is. 776 00:46:56,126 --> 00:46:57,626 Aren't you nosy? 777 00:46:58,418 --> 00:46:59,793 I'll tell you. 778 00:46:59,959 --> 00:47:02,084 He's on his honeymoon. 779 00:47:02,251 --> 00:47:05,543 Maybe in Châtelaillon, maybe Venice. How should I know? 780 00:47:05,709 --> 00:47:07,334 Lovers travel. 781 00:47:07,501 --> 00:47:10,293 You must have news through your family. 782 00:47:10,459 --> 00:47:12,376 Don't they write? 783 00:47:13,959 --> 00:47:15,459 Say, Titine. 784 00:47:16,126 --> 00:47:18,251 If no one'll shut you up, I will. 785 00:47:19,876 --> 00:47:22,126 It's also a film that belies 786 00:47:22,293 --> 00:47:24,793 Audiard's right-wing image. 787 00:47:24,959 --> 00:47:28,251 You know this Thévenot is a godless leftist agitator 788 00:47:28,418 --> 00:47:30,043 and the whole shebang. 789 00:47:30,209 --> 00:47:33,584 With black sheep, I dock 'em. 790 00:47:35,668 --> 00:47:38,001 - He's not getting docked. - Excuse me? 791 00:47:38,168 --> 00:47:41,834 He's a first-rate fisherman and that's rare. 792 00:47:42,001 --> 00:47:44,668 A leftie's fine if he doesn't rock the boat. 793 00:47:44,834 --> 00:47:49,501 There's also Gabin and Grangier's love of the movies. 794 00:47:49,668 --> 00:47:53,668 They use Florelle from Le Crime de Monsieur Lange. 795 00:47:54,959 --> 00:47:58,084 Day by day 796 00:47:58,251 --> 00:48:00,834 Night after night 797 00:48:01,459 --> 00:48:03,209 Under the stars 798 00:48:03,876 --> 00:48:06,376 That's the way I live 799 00:48:06,543 --> 00:48:08,959 Children have no conscience. 800 00:48:09,126 --> 00:48:12,459 They don't care if their mother can't read in bed. 801 00:48:12,626 --> 00:48:14,543 It was Gabin who said to Grangier, 802 00:48:14,709 --> 00:48:16,793 "Let's go get Florelle." 803 00:48:16,959 --> 00:48:18,959 She was in a retirement home. 804 00:48:19,126 --> 00:48:21,084 They had her shoot 2-3 days. 805 00:48:21,251 --> 00:48:23,334 It brought her joy late in life. 806 00:48:23,501 --> 00:48:25,168 I put him on a work site. 807 00:48:25,334 --> 00:48:26,834 I haven't seen a cent. 808 00:48:27,001 --> 00:48:28,918 Julien's gone from bad to worse. 809 00:48:29,084 --> 00:48:31,584 It used to be just pastis and women. 810 00:48:31,751 --> 00:48:34,959 Now it's billiards. All our money goes there. 811 00:48:35,959 --> 00:48:37,043 How much? 812 00:48:37,209 --> 00:48:38,084 What? 813 00:48:38,251 --> 00:48:40,334 The electricity bill. 814 00:48:40,501 --> 00:48:41,959 8,420 francs. 815 00:48:42,376 --> 00:48:45,168 You're paying for the sound and light. 816 00:48:45,334 --> 00:48:46,709 I don't have change. 817 00:48:46,876 --> 00:48:49,376 Never mind. I'll pay you back 10,000. 818 00:48:49,543 --> 00:48:50,376 Much simpler. 819 00:48:50,543 --> 00:48:53,918 Grangier also had a form of integrity 820 00:48:54,084 --> 00:48:59,418 which made this apparently commercial filmmaker 821 00:48:59,584 --> 00:49:04,043 someone who went to the conservatoire together with Deray, 822 00:49:04,209 --> 00:49:08,168 to scout for actors and cast them. 823 00:49:09,168 --> 00:49:11,543 Annie Girardot debuted with him. 824 00:49:11,709 --> 00:49:14,084 Jeanne Moreau did early films with him. 825 00:49:14,251 --> 00:49:17,293 Greedy pig. Rude. Grouchy. 826 00:49:17,459 --> 00:49:19,334 And always on the move. 827 00:49:19,959 --> 00:49:22,293 I really wonder why I love you. 828 00:49:22,459 --> 00:49:23,709 For my good looks. 829 00:49:23,876 --> 00:49:28,251 Bozzuffi made his first film. They're people Grangier found. 830 00:49:29,793 --> 00:49:31,668 Sending us out for nothing! 831 00:49:31,834 --> 00:49:34,376 But in your rig, it's a whole lot nicer. 832 00:49:35,418 --> 00:49:38,293 If it's so nice I can lend it to you Sundays. 833 00:49:38,751 --> 00:49:40,918 Every understanding has its downside. 834 00:49:41,084 --> 00:49:43,959 The friendship between the two, 835 00:49:44,126 --> 00:49:47,293 which helped several films, had its setbacks. 836 00:49:47,459 --> 00:49:50,959 Grangier took on some scripts to make Gabin happy. 837 00:49:51,126 --> 00:49:54,918 Grangier and the producers sometimes had to give in 838 00:49:55,084 --> 00:49:57,418 to Gabin's demands. 839 00:49:57,584 --> 00:50:00,751 When Gabin, for Le Cave se rebiffe, 840 00:50:00,918 --> 00:50:04,168 decided he wouldn't leave Normandy, 841 00:50:04,334 --> 00:50:07,751 even though the prologue was set in South America, 842 00:50:07,918 --> 00:50:11,959 and neither the producer nor Grangier would argue with him. 843 00:50:12,126 --> 00:50:16,584 So they shot a few miles from Gabin's home, 844 00:50:16,751 --> 00:50:19,168 filming South America with a palm tree 845 00:50:19,334 --> 00:50:22,209 and a sign reading, "Aeroporto." 846 00:50:22,376 --> 00:50:24,001 Gabin gave me 847 00:50:24,168 --> 00:50:26,668 all the reasons in the world not to go. 848 00:50:26,834 --> 00:50:30,501 All he could think of was, "Go abroad? That's madness. 849 00:50:30,668 --> 00:50:34,168 "We can do the pampas near my place." 850 00:50:34,334 --> 00:50:36,959 Out of arguments, he said, 851 00:50:37,126 --> 00:50:40,418 "Don't forget that across the Loire awaits the unknown." 852 00:50:40,584 --> 00:50:45,168 Luckily, things improve when Gabin arrives at the brothel, 853 00:50:45,334 --> 00:50:48,209 and the film becomes an extravaganza, 854 00:50:48,376 --> 00:50:51,043 surely a masterpiece of Audiard dialogue. 855 00:50:51,209 --> 00:50:52,668 Admiring my faun? 856 00:50:52,834 --> 00:50:56,376 I have no masters yet, but it's a start. 857 00:50:56,543 --> 00:50:58,626 A promising start. 858 00:50:58,793 --> 00:51:03,293 But if I were at home, as you so kindly suggested, 859 00:51:03,459 --> 00:51:04,626 I'd put it somewhere else. 860 00:51:04,793 --> 00:51:07,501 See? It'd look better by the window. 861 00:51:07,668 --> 00:51:08,918 Where do you see it? 862 00:51:09,084 --> 00:51:10,668 In the basement. 863 00:51:10,834 --> 00:51:12,834 I'll send you a guy this week. 864 00:51:13,001 --> 00:51:15,501 - How'll I know him? - Tall, dark. 865 00:51:15,668 --> 00:51:17,709 With a mustache, dumb-looking. 866 00:51:18,251 --> 00:51:20,084 Tall fools are everywhere. 867 00:51:20,251 --> 00:51:22,084 This one's oversized. 868 00:51:22,251 --> 00:51:25,834 If stupidity could be measured, he'd be a yardstick. 869 00:51:27,293 --> 00:51:29,584 Funny how you knew me right off. 870 00:51:29,751 --> 00:51:33,418 I was given a verbal portrait. I couldn't go wrong. 871 00:51:34,293 --> 00:51:35,918 And for the lady and gent? 872 00:51:36,084 --> 00:51:38,793 - What will you have? - A double Pernod-Rum. 873 00:51:41,126 --> 00:51:43,918 It's simple: two Pernod in a tall glass 874 00:51:44,084 --> 00:51:46,084 and you add two rums. 875 00:51:47,668 --> 00:51:49,001 The same. 876 00:51:54,001 --> 00:51:55,959 Why are you drinking with me? 877 00:51:56,126 --> 00:51:58,168 To get secrets out of me? 878 00:51:58,709 --> 00:52:01,376 As you people say, to make me talk? 879 00:52:03,126 --> 00:52:05,668 What we did, was it for that? 880 00:52:06,001 --> 00:52:07,834 Why are you talking nonsense? 881 00:52:09,709 --> 00:52:11,251 What's the matter? 882 00:52:12,251 --> 00:52:13,334 Nothing. 883 00:52:14,501 --> 00:52:16,959 Le Désordre et la nuit is more ambitious. 884 00:52:17,126 --> 00:52:20,876 It's a taut film noir. 885 00:52:22,168 --> 00:52:23,293 A real love story. 886 00:52:23,459 --> 00:52:26,001 One of few films in Gabin's late period 887 00:52:26,168 --> 00:52:27,834 with real romantic interest. 888 00:52:28,793 --> 00:52:32,543 It's a love story marked by drugs, 889 00:52:32,709 --> 00:52:35,001 weighty suggestions of crimes... 890 00:52:35,168 --> 00:52:36,751 I'm 23. 891 00:52:37,293 --> 00:52:38,793 Dark eyes. 892 00:52:39,251 --> 00:52:41,543 Shape of face: oval. 893 00:52:42,709 --> 00:52:46,084 I'm no longer a virgin but my record is spotless. 894 00:52:47,709 --> 00:52:51,209 You'll know how I started from my passport. 895 00:52:55,209 --> 00:52:58,626 And the rest by taking me in your arms. 896 00:53:02,168 --> 00:53:03,959 It's simple, no? 897 00:53:10,793 --> 00:53:12,584 Do you know what you want? 898 00:53:14,751 --> 00:53:17,334 The suns are lost... 899 00:53:17,501 --> 00:53:21,501 Grangier and Audiard give us a film that has a form 900 00:53:21,668 --> 00:53:25,334 of emotion, tenderness, bitterness. 901 00:53:26,168 --> 00:53:28,626 We feel the fatigue in Gabin's character, 902 00:53:28,793 --> 00:53:33,709 and the way he tries to extricate himself from this situation. 903 00:53:34,126 --> 00:53:36,751 So we could call it a crime of passion. 904 00:53:36,918 --> 00:53:38,876 With lots of mud around it. 905 00:53:39,043 --> 00:53:42,376 The letters that Simoni kept, Lucky took them that evening. 906 00:53:42,543 --> 00:53:44,793 The blackmail continued in another form. 907 00:53:44,959 --> 00:53:46,876 Without compensation, this time. 908 00:53:47,043 --> 00:53:49,626 Say, Vallois, will you take me away? 909 00:53:49,793 --> 00:53:50,626 Can we go? 910 00:53:50,793 --> 00:53:52,459 We'll even leave together. 911 00:53:52,626 --> 00:53:55,251 Want a head? You'll have two. Mine and hers. 912 00:53:55,418 --> 00:53:57,418 It's yours I want. 913 00:53:57,584 --> 00:54:00,168 Or else three. Yours, hers, and the honest man's. 914 00:54:00,626 --> 00:54:02,459 My husband's not involved. 915 00:54:02,626 --> 00:54:04,251 Then leave them both out of it. 916 00:54:04,418 --> 00:54:07,251 I want Simoni's murderer. To hell with the rest. 917 00:54:07,418 --> 00:54:09,501 You have someone to protect. Me too. 918 00:54:09,668 --> 00:54:11,668 Quid pro quo, to each his poor. 919 00:54:11,834 --> 00:54:14,043 It's a film whose secret is constant. 920 00:54:14,209 --> 00:54:15,543 I believe... 921 00:54:15,709 --> 00:54:18,668 It's a gold standard of French film noir. 922 00:54:18,834 --> 00:54:22,709 Aside from Simenon - there are connections with Simenon - 923 00:54:22,876 --> 00:54:26,001 he did some Simenons, too. 924 00:54:26,168 --> 00:54:29,459 But I think it's representative of the tradition. 925 00:54:29,626 --> 00:54:33,126 We can go back to it and find the mechanics of it. 926 00:54:33,293 --> 00:54:36,168 Le Désordre et la nuit - a magnificent title - 927 00:54:36,668 --> 00:54:38,626 is symptomatic. 928 00:54:39,668 --> 00:54:42,876 It's what those who love film noir 929 00:54:43,043 --> 00:54:46,376 strive for, without always succeeding. 930 00:54:46,543 --> 00:54:50,793 Grangier seems to come at it ingenuously. 931 00:54:50,959 --> 00:54:54,584 To my mind, the great film noir has this ingenuousness. 932 00:55:36,501 --> 00:55:39,251 Subtitles: Lenny Borger & Cynthia Schoch 933 00:55:39,709 --> 00:55:41,959 Subtitling: ECLAIR 70573