The Crossing of Paris

the Crossing of Paris is a Film free - Italy N, carried out by Claude Autant-Lara, left on the screens in 1956.

Summary

In 1943 in Paris, during the German occupation, Martin is a taxi driver with the unemployment which earns its living by delivering parcels for the Black-market. The evening even, it must transport to foot four bags containing a cut out pig to the other end of the capital. It goes in the cellar of one named Jambier and plays there of the accordion while the animal is cut the throat of. This made, it moves with his Mariette wife towards the restaurant where it must find its accomplice. It learns there that this one has just been stopped by the police force. An unknown enters the restaurant then and, on a misunderstanding, fearing that it slipped an appointment with his wife, Martin invites it to share his meal and to work with him. This choice quickly proves calamitous, because this new character, certain Grandgil, is far from being flexible. He first of all grants a substantial pay rise by terrorizing unhappy Jambier. Then, it destroys the bottles of a bar where the two accomplices took refuge police force and treats the tenants of “bastards of the poor”. It goes even until striking a police officer in the district where Martin lives. And when, fleeing a German patrol, they end up taking refuge in the apartment of Grandgil, it is with amazement that Martin, discovers that it is about a painter of a certain fame which followed it only to be distracted. Prosecutor nevertheless their way, they arrive finally at the address of the delivery but find the closed door. They produce such a din then that the police force intervenes. In the Kommandantur where they are taken along, a German officer recognizes the Grandgil painter. He is on the point of making them slacken when the assassination of a colonel is announced. The German officer manages to save in extremis only Grandgil while Martin, him, share in deportation. The years pass, Paris is released, and we find Grandgil on a station platform of Lyon followed by a carrier of bags. Top of the window of the coach, Grandgil recognizes bearing Martin suddenly, like always, the bags of the others.

Comments

Claude Autant-Lara deploys all his insolence and his taste for the provocation in this joke caustic and squeaking having for historical framework the German occupation. Two accomplices that all opposes, the character and the social position, cross Paris the night to deliver a pig to the Black-market. On this fragile argument, a series of adventures and a gallery of portraits develop which constitute a denunciation of through darkest one time at the same time as a virulent social criticism.

The two superstars that are Bourvil and Jean Gabin give with liveliness the counterpart to it while beside them, some Louis de Funès, find one of its first great roles.

It is probably about the masterpiece of Claude Autant-Lara and, in any event of a great classic of the French Cinéma. Traversée from Paris , of Marcel Aymé, published in 1947 in the collection the Wine of Paris . !! put in the data sheet!! -->

An initiatory course

The crossing of Paris east without any doubt an initiatory course. Grandgil painter whose talent is temporarily suspended because of the war distracts and trains by the provocation Marcel Martin a taxi driver with the introverted unemployment which for lack of insurance is let handle by its environment.

This long walk of night through the districts of Paris which succeeds the anthological scene of the bargaining of the transport of the bags will make it possible Grandjil to expose to Martin for concrete examples the limits of the human race. The scene of the coffee where Grandjil is released in company of Martin temporarily released of its prejudices is a perfect example of this verbal overflow and physics which one can condemn.

Martin is hustled by outrageous extravagances of Grandjil. He is caught with the play power which represents this disillusioned painter who has fun to destabilize his contemporaries that he considers weak and without scales by sour remarks.

This advance in Paris especially in its conclusion however will position Grangil in a responsible role where it will have to show of wisdom and reflection to save the life of his comrade.

Data sheet

  • Title: the Crossing of Paris

  • Realization: Claude Autant-Lara
  • Scenario: Jean Aurenche and Pierre Bost, adapted news éponyme of Marcel Aymé appeared in the collection Wine of Paris .
  • Dialog: Jean Aurenche, Pierre Bost
  • Assistant realizer: Ghislaine Autant-Lara
  • Production: Henri Deutschmeister
  • Production: Franco-London Film (Paris), Continental Produzione (Rome)
  • Directing of production: Yves Laplanche
  • Distribution: S.N.A Gaumont
  • Music: Rene Cloërec
  • Director of the photography: Jacques Natteau
  • Operator: Gilbert Chain
  • Assembly: Madeleine Gug
  • Sound: Rene-Christian Forget
  • Decorations: max Douy
  • Make-up: Yvonne Fortuna
  • Furs: Andre Brun
  • Photographer of plate: Jean-Louis Castelli, Emmanuel Lowenthal
  • Script girl: Genevieve Cortier
  • Manager: Andre Hoss
  • Poster artist: Clement Hurel
  • Film: 35mm - black and white
  • Pulling: Laboratory Franay L.T.C Saint-Cloud, on color film
  • Turning in the studios “Franstudio” and in Paris from April 7th to June 9th, 1956
  • Coming out date: October 26th 1956
  • Country of origin: France - Italy
  • Kind: dramatic comedy
  • Lasted: 80 minutes
  • All public

Distribution

  • Georges Bever: a consumer

  • German Delbat: a woman at the restaurant
  • Clement Harari: the hostage with the glasses
  • Rene Hell: the Leg father
  • Hubert de Lapparent: the nervous hostage
  • Franck Maurice: the newsvendor
  • Albert Michel: the caretaker of the building
  • Michele Nadal: the young girl on the outlet side of the subway
  • Maryse Mat: a woman at the restaurant
  • Jean Vinci: the customer mécontant at the restaurant
  • Louis Viret: the cyclist
  • Yvonne Claudie: the old prostitute
  • Lita Recio: voice doubling Yvonne Claudie
  • Martine Alexis: ? German operator
  • Yvette Cuvelier: ? Jewish maidservant at the Crown
  • Anne Carrère: to confirm
  • Genevese Emile: to confirm
  • Brown Rene
  • Henri Lambert: to confirm

Around film

  • the choice of Bourvil for the role of Martin was the subject of a so violent opposition on behalf of Marcel Aymé whom it ends up worrying the production. Claude Autant-Lara, which was due to its choice, had to decrease his budget of more than 50  %, thus renonçant with the color, to obtain any freedom as for casting. Marcel Aymé recognized his error thereafter relating to Bourvil, adding moreover: It is really the very first time that one did with the cinema something drawn from one of my books which is not only well, but of a very great quality. And in this particular case, it was not easy .

  • Before this chief of work, André Bourvil had never worked with Jean Gabin. Their first scene was precisely that of the first meeting between Martin and Grandgil. When Gabin returns (of back) in the bar and launches a worrying `Good evening' : the actor Bourvil was terrified…
  • the engineering team is visible twice in film. When Jeannette Batti tightens a soap with Jean Gabin at the beginning of film: one can see perfectly, the one second space, the shadow of the camera on the actress. When André Bourvil sees Jeannette Batti which was on the point of leaving it, Gabin leaves the building alone. When Gabin leaves the corridor: one very clearly sees that an assistant closes again the door behind him…
  • In the twilight of his career, Claude Autant-Lara will carry out a remake unavowed of the Crossing of Paris . Massacred by the critic, the film will however be excellent… and of a very great blackness. It is about the film the Potatos realized in 1969 with Pierre Perret and Henri Virlojieux.
  • the color application of a film as the Crossing of Paris is a perfect ineptitude. The tight budget of film encouraged max Douy (celebrates decorator chief) to carry out districts entirety of Paris in studio. The expressionnists influences of the artist (already visible in other films) explode in certain sequences of Crossed from Paris . Moreover, the film is certainly one of the rightest visions and more seizing period of the occupation to the cinema. The force of the treatment lies obviously in the presence of a Noir and white very contrasted and worrying…
  • the final meeting again parks of Lyon, minutées by the departure of the train of Grandjil, are of a very great emotion. This disillusioned exit, that Claude Autant-Lara would have waited five years before turning (it had acquired the rights in 1950), dissociates completely the news of Marcel Aymé in whom Grandjil is killed by Martin who incarnates the honor of the proletariat against the cynicism of an idle middle-class.
  • Autant-Lara and Bourvil will turn three years later another adaptation of Marcel Aymé: the green mare .

Distinctions

  • Price of male interpretation (Volpi cut) for Bourvil with the Mostra of Venice in 1956.

  • Price of best film by the French trade union of the critic of the cinema 1956.
  • Nomination for the Lion of gold of the Mostra of Venice 1956 (This same year no Lion of gold was decreed).
  • Nomination for Jean Gabin with BAFTA 1957 in the category “better foreign actor” (Prize awarded to Henry Founded for Twelve Angry Men ).
  • Price Méliès in 1957.

Quotations

  • Grandgil (Jean Gabin)/Jamblier (De Funès):

“Mr Jamblier, 45 rue Poliveau, for me, it will be 1000  F… Mr Jamblier, 45 rue Poliveau, maintaining it is 2000  Did F… I want to say 3000.
- They is serious?
- How if they is serious! … JAMBLIER JAMBLIER JAAAAMMBLIER! ”
  • Grandgil (Jean Gabin): “Bastards of the poor! ”

See too

External bond

  • Card IMDb

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