We begin this podcast by congratulation the beautiful Garden Cinema on their superb programming. Le Jour se lève is the first in a series of great films exploring International Film Noir.
In the podcast we discuss the film as an example of ‘Poetic Realism’; as one of the first films to be described as a ‘film noir’; as an expression of the Popular Front sentiment and how the film’s reception aligned with reviewers’ political views. In relation to the film, we discuss the significance of its structure, the precision of the decor and mise-se-en-scène where it seems every object in François room subsequently comes into play to describe loss, longing, love, innocence since tarnished. I have made a compilation of all the times Gabin looks out the bullet-riddled window and outside. As the day rises and the night ends so does François’ life. We discuss Gabin, Arletty, Jules Berry…all at their best. Gabin is the representative everyman with nothing to live for but more sand in his lungs. It’s not only that as Georges Altman writes, ‘the whole of the working class is etched in Gabin’s face’ it’s that Gabin’s IS the face of the whole of the French working classes. He is François,. She is Françoise. Together they represent the oppression of the French working class. They are everyman and everywoman, orphaned by capitalism. This is a film not only about doomed love but a protest against class-as-destiny, one of the film’s most worked-through themes. The podcast may be listened to below:
The podcast may also be listened to on: Spotify here: https://open.spotify.com/show/2zWZ7Egdy6xPCwHPHlOOaT
and on itunes here: https://podcasts.apple.com/gb/podcast/first-impressions-thinking-aloud-about-film/id1548559546
Readers wanting to continue with their interest in the film might start here with Ben McCann’s excellent guide.
An example of right-wing reception of the film from Ben McCann’s book:
A short compilation of all the times Gabin looks out the window culminating in François speech to his neighbours:
Arletty
Glorious iconic imagery:
The train seen only through its smoke, part of Traubner’s design, so beautifully rendered meaningful by Carné.
Those of you who want to pursue the Gabin connection might be interested in this two-part podcast with the great Ginette Vincendeau:
https://notesonfilm1.com/2019/12/10/in-conversation-with-ginette-vincendeau-part-1/
https://notesonfilm1.com/2019/12/13/in-conversation-with-ginette-vincendeay-part-ii/
José Arroyo
