Les Enfants du Paradis, 1945.
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The end of Les Enfants du Paradis (ballet) when her former suitors help sneak Garance to Baptiste - despite the fact they all loved her too - is just so heart wrenching and beautiful. They both cared about her, but they both knew she wanted to see and be with Baptiste and T_T beautiful
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“Les rêves, la vie, c'est pareil ou ça vaut pas la peine de vivre.”
Children of Paradise (1945) ‘Les Enfants du Paradis’.
Directed by Marcel Carné.
Jean-Louis Barrault
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The original 1955 Polish poster (1st Polish release) of Marcel Carné's masterpiece, Les Enfants Du Paradis
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Les Enfants du Paradis (Children of Paradise) (1945)
Four theatre men fall in love with the same woman.
The narrative deepens itself by relating to other art forms such as Shakespeare, the parallels to Othello are less than subtle but don’t adhere too closely as to be adaptation. There are also many quoted phrases throughout to elevate conversations from banal to scholarly and some of the characters get somewhat complex in their past and motivations.
Many such films deal with controversial portrayals of relationships and many of the ones depicted here appear shallow and mainly for staged turmoil, as with some real unhealthy relationships to be fair. The narrative focus drifts between the ensemble but also through genres, never settling for drama, tragedy, or comedy. The inter-titles include an unfortunate derogatory description of women needing to be “conquered” and it could have done without the blackface.
An amusing feature that elevated it just slightly was the curtain dropping down half way and at the end in a metaphysical way, addressing the theatrical set-up of the film. The scale was impressive, especially considering the political climate it was produced in and some of the logistical elements behind the scenes are interesting to read like one pro-Nazi actor dropping out after D-Day and two Jewish writers having to submit work for it by proxy.
Some scenes work a lot better than others like the stylised conflicts, however others were unusual but oddly entertaining such as the mime scenes, and others were more irritating than anything else like the crowds cheering for plays that were tedious at best. The ending leaves the movie feeling purposeless since little or nothing is really resolved and it didn’t help French stereotypes for promiscuity in the least.
3/10 -This one’s bad but there’s some good in it, just there-
-Funding for the project was almost dropped when the Italian co-producers left the project due to Italy falling to the Nazis.
-The film avoided the Nazi ban on films over 90 minutes by dividing it into two parts.
-The theatre name, Funambules, translates to “Tightrope” in English.
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At the Funambules by L. Lapeyre
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