Archive for Julien Duvivier

The squeaky wheel of Death

Posted in FILM, Mythology with tags , , , , on December 27, 2012 by dcairns

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Over at The Daily Notebook, an all-too-brief, but undeniably seasonal edition of The Forgotten.

Paris By Night

Posted in FILM with tags , , , , , on April 11, 2012 by dcairns

From Duvivier’s ALLO BERLIN? ICI PARIS!

Two couples on a night out — according to the plot contrivance, all work in the telephone exchange, two in Berlin and two in Paris. When the Germans visit, there’s a deliberate mix-up and a scheming German boy and French girl go out with the French boy and German girl who were supposed to go out with each other. Hard to explain.

Anyhow, the naughty French girl’s idea of a night out — Club Negro — looks more fun that the boy’s, although he does get a song co-written by the film’s director.

The gimmick of the film is that every line of dialogue is translated from French to German or vice-versa, so audience’s of both nations can enjoy.It’s an early experiment in making a talkie which could transcend the language barrier — while Pathe-Natan and others were making co-productions in multiple versions — French, German and English, Duvivier makes a truly bilingual film. Oddly, this has the effect of de-emphasising language, so that the film can be enjoyed even if you speak neither tongue.

Thirty-some years later, Godard tried something similar by including a translator character in LE MEPRIS, in the hopes that the Americans wouldn’t dub it. They dubbed it anyway, so that the translator is just kind of re-phrasing things that Palance says to Piccoli and Piccoli to Palance. For no reason.

Kind of like this ~

Thanks to La Faustin.

Screening the evidence

Posted in FILM with tags , , , , , , , , , , , , on April 10, 2012 by dcairns

Watched LA TETE D’UN HOMME, Julien Duvivier’s Maigret film, made at exactly the same time as Renoir’s take on the Simenon sleuth, LA NUIT DE CARREFOUR, and based on the same book as the later Meredith/Laughton MAN ON THE EIFFEL TOWER. I essentially watched the film by mistake, as part of my researches into Pathe-Natan, based on a filmography that erroneously cited the film as shooting at Natan’s studio.

Nevertheless, it’s a mistake I can’t regret as I loved the film when I first saw it at New York’s Museum of Modern Art, and I loved it just as much this time. Harry Baur is a near-definitive Maigret. Impossible for the high-octane thesp to match the air of depleted nothingness Pierre Renoir brought to it, perfectly capturing the human, dour functionary of the books, but Baur dials down his towering charisma and actually seems to shrink into the part, despite being by some way the biggest man on screen. Duvivier helps by casting the gangling sunflower Alexander Rignault, with his big flapping orang-utan hands, so there’s one actor taller than Baur, if not bulkier.

Valery Inkijinoff is amazingly sinister as the psychopath Radek. A Russian with eastern features, he had a looong career playing Eskimo, Chinese, Japanese, Red Indian, and even occasionally Russian. Given the role of a lifetime, he manifests an incredibly compelling screen persona — his delivery seems a little overemphatic at times, but it really doesn’t matter, because his LOOK and his posture are so utterly hypnotic. We’re talking Peter Lorre levels of you-can’t-look-away-ness.

One very interesting effect — Pathe-Natan may be nowhere in the mix, but Natan’s friend the inventor Yves Le Prieur contributed his Transflex… let me explain. Le Prieur is best remembered as a co-inventor of the scuba, but he also came up with air-to-air rockets for WWI and a translucent movie screen called the Transflex which facilitated rear projection. If you use an ordinary movie screen, you can’t get a bright enough image on the reverse side, but the Transflex was opaque enough to hide the projector, but see-through enough to show a strong image to the camera.

Le Prieur declined to patent his invention, and it swiftly found its way to America where it was deployed on JUST IMAGINE and LILIOM. Of course, it was a huge help, after some Hollywood fine-tuning, on KING KONG, but sadly the inventor is rarely credited.

In this scene, one of Maigret’s assistants questions a series of witnesses. In fact, he’s standing in front of a Translux upon which the background and his interviewees are projected. In a series of dissolves which have already been produced in the lab, the backgrounds melt away into one another while the detective remains in place in one continuous shot, as if he were teleporting from one location to another. The process of the law captured in a process shot.

There’s also a sequence in which the desperate fugitive/patsy steals bread from a child, which seems very much influenced by James Whale’s FRANKENSTEIN, although the shots are actually entirely different ~

Wow. Click and enlarge any of these stills for your daily beauty fix.

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