Marcel Carné — Film Noir Blonde

Neo noir snags top award from COL•COA French film fest

The City of Lights City of Angels (COL•COA) 16th annual French film festival on Monday announced its winners. Nearly 19,000 attended the week-long fest at the Directors Guild of America in Hollywood.

I was pleased to see that one of the noir titles, “Early One Morning” (De bon matin) garnered the Critics Award from the Los Angeles Film Critics Association; Christy Lemire of the Associated Press served as president of the jury. Starring Jean-Pierre Darroussin, “Early One Morning” was directed by Jean-Marc Moutout.

“Paris by Night” (Une nuit) and “A Gang Story” (“Les Lyonnais”) completed the film-noir series on Friday night. There were many terrific films shown at the fest; other movies with noir elements included: “38 Witnesses,” “Guilty,” “Americano,” “Polisse” and “The Minister.” And it was a treat to see Marcel Carné’s “Hotel Du Nord” – a masterpiece of Poetic Realism and an important precursor of film noir.

The rest of the award winners (for feature films) were:

The Critics Special Prize and the COL•COA Audience Award went to “The Intouchables,” written and directed by Olivier Nakache and Eric Toledano. Starring François Cluzet and Omar Sy, this buddy-movie comedy will be released in the U.S. on May 25.

Critics Special Mention for “Polisse,” written by Maïwenn and Emmanuelle Bercot; directed by Maïwenn. This opens in the U.S. on May 18.

Daniel Auteuil's breakthrough role was in “Jean de Florette” and its sequel “Manon des Sources,” both from 1986.

The First Feature Award went to “The Adopted,” written by Mélanie Laurent, Morgan Perez and Chris Deslandes; directed by Mélanie Laurent.

The Audience Special Prize went to the documentary “Leadersheep,” written and directed by Christian Rouaud.

“The Well Digger’s Daughter,” written and directed by Daniel Auteuil based on Marcel Pagnol’s original work, won the Audience Special Mention. This film opens in the U.S. on July 20.

Stay tuned for reviews of COL•COA films!

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In his short life, Jean Vigo helped ignite a cinematic uprising

October’s reader giveaway, announced earlier this month, is Criterion’s anthology of French filmmaker Jean Vigo and a Chicago film fest T-shirt. To enter, just comment on any post this month. Here, critic Michael Wilmington discusses the director and his work.

He died at 29: Jean Vigo, the spirit of youth, of art, of cinematic rebellion, of France between the wars. He was a citizen of the world cinema, even though he directed only four films: two documentary shorts, a featurette, and one feature, all of them to some degree commercial and critical failures. And yet Vigo lives.

The son of a revolutionary who died in a prison, Vigo helped ignite an artistic and cinematic uprising. He and his co-conspirators, Jean Renoir, Pierre Chenal, Julien Duvivier, and Marcel Carné, created Poetic Realism, beautiful stylized portrayals of marginalized, often doomed characters, such as criminals. This style of filmmaking, along with German Expression, greatly influenced film noir.

Jean Vigo

The look of Vigo’s films inspired 1940s and ’50s Hollywood. His great collaborator was the cinematographer Boris Kaufman, a poet of light, who later shot “On the Waterfront” for Elia Kazan and Sidney Lumet’s “12 Angry Men.”

Vigo’s works are records of the real – love and sex, wealth and poverty, French culture, French life as it was lived in the 1930s – and documents of the surreal, that mysterious land of our dreams.

He made movies about sunny resort cities and the bourgeoisie at play (1930’s “À propos de Nice), about a real-life Olympic champion swimmer (1931’s “Taris”), about schoolboys in revolt in a school run by monsters (1933’s “Zéro de Conduite”) and about two lovers and a wild old man on a barge on the river (1934’s “L’Atalante”).

“Zéro de Conduite,” a 44-minute featurette was based on Vigo’s memories of boarding school days, a nightmare of absurdities, tangled up with lyrical flights of freedom. The sarcastic treatment given the school’s bizarre academics is probably partly responsible for the film’s long banning in France (1933-45).

Dita Parlo and Michel Simon star in "L'Atalante."

“L’Atalante” remains one of the most hypnotically beautiful and lyrical films ever made. Twice, in 1962 and 1992, “L’Atalante” was voted one of the 10 greatest films of all time in the Sight and Sound International film poll. It is now a national treasure in France.

Vigo died in 1934. His work was trashed and forgotten, then resurrected and restored a decade after his death, and seen all over the world. If you see these films, they will make you feel more alive. They will flood your heart with love, your eyes with beauty and your mind with poetry, mad comedy and dreams. There are only four Jean Vigo films, but they open up a world for us. If we let them.

This Criterion anthology offers excellent special features and of course the films:

“À propos de Nice” (1930, silent, English intertitles)

“Taris” (1931, English subtitles) With Jean Taris.

“Zéro de Conduite” (1933, English subtitles) With Jean Daste, Louis Lefebvre.

“L’Atalante” (1934, English subtitles) With Michel Simon, Dita Parlo, Jean Daste, Louis Lefebvre.

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