Considering that it was made during a bleak and distressing period for France, Le Ciel est à vous is an astonishingly uplifting film with a message of unfettered hope for the future. It is not difficult to read director Jean Grémillon’s allegorical call to arms behind the rather anodyne tale about a Lindbergh-esque exploit, based on the real-life story of Andrée Dupeyron, the wife of a garage owner in Mont-de-Marsan. Released in February 1944, a few months before the Liberation, the film was enormously popular in France, galvanising the efforts of the Resistance and their covert supporters with its inspiring subtext. Although Jean Grémillon would go on to make three more notable films, Le Ciel est à vous was his last commercial success, the highpoint of his career before a rapid decline into obscurity. Read More »
Tag Archives: Jean Grémillon
A lighthouse keeper and his son are stranded by the storm in a lighthouse. Read More »
Recently restored (in 2001) by Centrimage for ZZ Productions, Maldone is one of the great achievements of French silent cinema. It was the first genuine masterpiece from Jean Grémillon and is also a very good example of the documentary style of film from this period. It was released in October 1928 but was not a great success, bringing and end to Charles Dullin’s film production ambitions (Dullin also stars in the film as Maldone). Read More »
Marie Prieur, a young doctor, decides to settle down on Ushant, a remote island belonging to Brittany. Little by little she manages to be accepted by the population. One day she meets André Lorenzi, a handsome engineer, and it is love at first sight. Life is wonderful for a while but André wants to marry her only if she remains at home. Despite her strong feelings for André, Marie refuses to give up her vocation and the two lovers part. Marie finds herself alone, with a broken heart. Read More »
Jean Grémillon’s first talkie, the 1930 LA PETITE LISE, is anything but talky. While opening
and closing with soulful afro-Latin strains, something just above silence reigns throughout
the film. Grémillon is already orchestrating the auditory menace of nuanced sound sculpting
that would later pervade REMORQUES (1941), setting forth evolving rhythmic figures at an
atmospheric whisper. Grémillon grafts this aural frieze onto smoldering b&w photography.
Truly, the frame is often smoking for purposes of motif.
In truth, this film has the most impressive use of sound I know of, including Bresson’s
MOUCHETTE. Read More »
Jonathan Rosenbaum wrote this :
In his finest work, including this masterful 1938 noir, the remarkable French filmmaker Jean Gremillon (1901-1959), trained as a composer and musician, used mise en scene, script construction, editing, and dialogue delivery to explore the complex relationship between film and music.
Raimu, one of the greatest French actors, plays the “strange” title hero, a respectable Toulon merchant who secretly operates as a fence for local thieves; after he murders a potential blackmailer, an innocent local shoemaker (Pierre Blanchar) is sent to prison for his crime.
Seven years later the fall guy escapes, returns to Toulon to see his son, and, unaware of Victor’s guilt, persuades the merchant to shelter him, then becomes involved with his wife.
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