Under the sky of Paris (film)

Under the sky of Paris is a film French carried out by Julien Duvivier in 1950 and left in 1951.

Synopsis

Under the sky of Paris, during one day, we attend great and small events which occur in the life of some people whose destinies will be interfered. Thus, poor elderly spinster, after having sought, in vain, all the day what to nourish its cats, receives the unhoped-for reward of a mother who, thanks to it, found the evening her little girl mislaid since the morning. An young girl, dreaming with the great love, refuses that of her friend of childhood to finish under the stabs of a sadistic sculptor. This last is cut down by a police officer who accidentally wounded a workman who returned at his place after the happy outcome of a strike movement. Hospitalized urgently, the casualty is saved thanks to the first open-heart operation practiced by a young surgeon who has just been readjusted with his examination of boarding school… Under the sky of Paris, all finishes like says it the song: Mais the sky of Paris
N' is not a long time cruel
Pour to be made pardonner
Il offers a rainbow…

Comment

The film abounds with so much with ideas and innovations that, paradoxically, that seems to have served it. To want to show the multiple facets of the capital while resorting to a multitude of filmic expressions, Julien Duvivier causes a too frantic flood of images. The comments written by Henri Jeanson and called by François Perrier in voice-over are used as red wire at the same time as one intends to turn the wheel of the Destiny with the noise of that of the caster of the games of chance. These chronicles urban, sometimes poetic, humorous, lyric, gouailleuses and sour try, vainly, to bind the multiple aspects of the City of Light. Duvivier goes from the artistic report (Christian Dior, the Haute couture, the mode) until documentary social and medical one (occupation of the factory by the workmen, life with the Hôtel-Dieu) while passing by the fictitious narration. At the same time, it uses various esthetic styles: luminous images for the scenes with the Palate of Chaillot, the Tileries, on the the Seine and its quays, greyness for the working sequences, Clearly-obscure for the night sequences. The spectator is deafened by virtuosity and the avant-gardism of Duvivier which very invented well before the New wave. The film is held almost completely in outsides. Camera with the fist, 26 years before Claude Lelouch ( It was an appointment , 1976), the realizer déboule at any speed in the car drawing aside in front of it circulation of the streets to rejoin the hospital in time record. One blows oneself to run of one district to the other: Field-of-March while passing by Chaillot, Mouffetard, the Marsh, the Fields-Élysées, the village (disappeared) of Bercy, Ménilmontant (homage to Charles Trenet), Invalid, Montmartre. The spectator does not know any more where to give head and has difficulties in adhere to each sketches which could have been the subject of a specific film. Miss Perrier and his cats: Sylvie, incarnation of loneliness downtown full, as large as the Eiffel Tower, as tiny as an ant on the immense esplanade of the Invalids. Denise, provincial naive and romantic éperdue, subjugated and finally struck down by the fulgurance of the beauties and the dangers of the City (Brigitte Auber). The young girl absconder and her boyfriend hablor, true titi, certified copy of Gavroche, leave to the adventure on the the Seine according to the set of themes the drunk Bateau Arthur Rimbaud (poet which Duvivier affectionnait). The two kids “see”, dazzled, with their innocent eyes, the invisible and mysterious regions which border the river. The heart of the workman, symbol of the popular heart of Paris (which, according to Duvivier, must survive costs that costs) is lovingly brought back to the life by one of the angel-guards of the capital (the doctor Daniel Ivernel). The the Seine, artery palpitating of the body of the City, drains life (children in boat) and dead (the drifting corpse). At the same time, Duvivier, documentarist and witness of his time, bring back to us to our concerns current ecologists: in 1950, the Parisian ones bathe and fish in the Seine. One plunges since the quays of the Louvre, one picnic on the quays left bank (the bistrotier Paul Frankeur and its family) where Duvivier films its sequence of anthology: the singer Jean Bretonnière entonne with enthusiasm, for the posterity, the resistance of the people of Paris, the immortal song Under the sky of Paris (right before the appearance of a repressive deployment of, fresh the mark police force of the German occupation). It is included/understood whereas the other song of film is of too: Heart of Paris , interpreted in a way guindée by Andre Claveau, arrives at an awkward moment in epilog of film (and she will quickly be forgotten). All that comes to explain why it is the song éponyme which will pass to the posterity and not supersaturated film of a major realizer of the cinema.

Data sheet

Distribution

Counterparts

If Rene Lefèvre is credited like dialogist, there is no doubt that the author of the comments, Henri Jeanson, also went there from his feather. One hears, on several occasions, of distributed which is not without pointing out some famous counterparts between Arletty and Louis Jouvet in Hôtel of North of Marcel Carné (1938). Example:
Mathias, the insane sculptor, who dances with Mado with the ball by believing to make the romantic meeting of his life, not distinguishing that it is a prostitute :
- Mathias : Here what I like in you, it is this kind of brutal poetry…
- Mado : But I am not brutal, I perhaps have the air of it but I am not it, on the contrary…
- Mathias : You want to remain with me, this evening?
- Mado : Why not, if you put the price at it…
- Mathias (falling from naked while carrying out which it is) : What obstructs me, it is not so much that you make this trade, but it is the way in which done it to you, which is wretched!
- Mado : Not, but known as-therefore is not you, it because you are mown that engueuler is needed the world! He rail because I said to him that he had a bad mine, but if I had not been polished, I would have said there that he had a dirty mouth! Not, but you realize, I foutrais there, me, of brutal poetry!

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