Guide Le Petit Livre des répliques les plus drôles du cinéma (HORS COLLECTION) (French Edition)

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  3. Les Enfants du Paradis (The Children of Paradise) un film de Marcel Carné () | Marcel Carné;
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Book Corner - Fusac | Fusac

There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping. It is a case of artistic truth in the second degree. If we are enticed into this world, it may well have much to do with the fact that it is a world inhabited by artists who lived a marginal life.

This, we are told, is a world which the authors find fascinating, and they hope we share in their delight.

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As to what happens to the principal characters, it does not greatly matter, except that the situations allow each one ample, if rather incidental, chances for self-revelation. Nevertheless, as the action develops, at least one character develops also: This central portrayal is enough to keep the story moving and the spectator interested, in spite of the rather cold and unsatisfactory climax.

Filled thus with morceaux de bravoure, intense plastic beauty, bustling liveliness, dry, poetic aphorisms on life and the arts, the film proceeds with glorious casualness. That immense cuts were made in it, that even only the first of the two parts were sometimes shown, encouraged legitimate if half-hearted protests. One suspects they were half-hearted not only on commercial grounds.

For Les Enfants du Paradis is a film of which any part can be appreciated by almost any audience, but which does not suffer, unlike most first-class films, by not being shown in its entirety. Probably nothing can quite compensate for the lack of construction and dramatic climax, and for a certain over-polished coldness.

The romantic breadth and picturesqueness of the film made such an impact that a few incidental but significant points may have been overlooked. Much of the story is based on incidental, improbable coincidences. Some images have a symbolic character, notably the first one of the film, when the tight-rope dancer goes his perilous way. The bourgeoisie is ridiculed. People have reproached them for being aesthetes out of touch with the great public, and it is certain that if they created a school the cinema would be in danger of being cut off from its popular roots.

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The script, though highly original, is contrived without any thought for characterisation. This, and the lack of unity, are the major defects of an exciting film. Parts of Les Enfants du Paradis are certain to be placed among the classics of the screen. What is more, it is a magnificent spectacle.

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It is a very great film as much in its scope as in its ambitions, but it is a very great film that has misfired. Since Les Visiteurs du Soir, the jobs have been reversed. It is another world. He allows the visuals the sole purpose of showing, presenting and placing the characters in situations cleverly contrived, but controlled by his text. Thus—and this is the case with Les Enfants du Paradis—in spite of the intelligence of the subject and however ingenious the direction, it is no longer, it cannot any longer, be cinema.