Les enfants du paradis (1945)

Réalisateur:

Marcel Carné

Scénariste:

Jacques Prévert (scenario and dialogue)

Date de sortie:

15 novembre 1946 (USA)

Genre:

Drame | Romance

Intrigue:

This tragic tale centers around the ill-fated love between Baptiste, a theater mime, and Claire Reine...

Plot Keywords:

Count | Love | Actor | Mime | Actress

Récompenses:

Nominated for Oscar.

Avis des utilisateurs:

The film is Life itself.

Ensemble

Arletty	...	Garance (Claire Reine)
Jean-Louis Barrault	...	Baptiste Debureau
Pierre Brasseur	...	Frédérick Lemaître
Pierre Renoir	...	Jéricho
María Casares	...	Nathalie (as María Casarès)
Gaston Modot	...	Fil de Soie
Fabien Loris	...	Avril
Marcel Pérès	...	Director of the Funambules
Palau	...	Stage manager of the Funambules (as Pierre Palau)
Etienne Decroux	...	Anselme Debureau (as Étienne Decroux)
Jane Marken	...	Mme. Hermine (as Jeanne Marken)
Marcelle Monthil	...	Marie
Louis Florencie	...	Policeman
Habib Benglia	...	Turkish Bath Attendant
Rognoni	...	Director, 'Grand Theatre'

Autre(s) titre(s):

Children of Paradise (USA)
L'homme blanc (France) (second part title)
Le Boulevard du crime (France) (first part title)

Durée:

USA:163 min (edited) | France:190 min

Pays:

France

Langue:

Français

Couleur:

Noir et Blanc

Rapport de forme:

1,37 : 1

Son:

Mono

Classification:

Brazil:18 | West Germany:12 | Australia:PG | Finland:K-16 | Sweden:15 | Sweden:7 (1986) | UK:PG | USA:Approved

Lieux de tournage:

Nice, Alpes-Maritimes, France

Société:

Pathé Consortium Cinéma

Anecdotes:

Turning was ended a short time before the D-Day and the director, having planned to distribute the film after the liberation of France, had three copies printed and concealed in three different places: a cellar of the Banque de France, a strongbox of Pathé and a Provence country house.

Goofs:

Continuité: The positions of Avril and Lacenaire in the Turkish baths changes between the shot of their entry and the closer shot.

Guillemet:

Frederick: I'm dying of silence, like others die of hunger and thirst.

Connexions De Film:

Référencé sur Les demoiselles de Rochefort (1967)

The film is Life itself.

One day in 1966 I was walking along 8th Street in the Village. The Village was where I went when I had no where else to go, when I belonged no where, where I thought I could discover myself. It didn't hurt that there were people to stare at, without being too obvious about it.

It was a gray day and it started to rain. I stopped under the first protection I found, a movie marque - neither handsome nor attractive.

The photos promoting the film were behind glass at odd angles, held by tacks. I just wasn't in the mood. It wasn't what I was looking for. But the rain got worse, and I needed warmth. So I bought my ticket to join the twenty or so people who comprised the full audience.

From its first moment, the film pulled me in. After a frenetic start, it quieted to Jean-Louis Barrault sitting alone on a barrel. I'd seen Marceau before, but not until now had I seen the quiet poetry of true mime.

Barrault's character, Baptiste, had silently observed the theft of a watch. Baptiste pantomimed the theft but staged his pantomime as if people's perceptions were a mistake, as if the theft never took place. In the doing, he made everyone laugh. He did this for the love of Garance, played by Arletty, whom he had seen for the first time.

There follows in the film first love - unrequited, poetic, soulful. We see villainy, melodrama, danger, heroism, satire, plays within plays - a host of stories all integral to the whole of the play. And we believe completely.

It is the most complete film ever made. It changed my life.