Summary
An In the 15th Century, two travelling musicians named Gilles and Dominique arrive at
the castle of Baron Hugues, amid celebrations for the impending marriage between Hugues’
daughter Anne and a knight Renaud. The two musicians are in truth emissaries of
the Devil, sent to disrupt the wedding for their own amusement. Whilst Dominque
seduces Renaud, Gilles makes an easy conquest of Anne. However, Anne’s purity overwhelms
Gilles and he in turn falls in love with her. This unexpected turn of events forces
the Devil into making a personal appearance...
Review
Les Visiteurs du soir is one of a series of undisputed masterpieces which came
out of the fruitful collaboration between director Marcel Carné and screenwriter
Jacques Prévert. The film was hailed as a major cinematographic achievement
upon its release in 1942 and was one of the most popular films made under the Nazi Occupation.
A combination of an excellent script, creditable acting performances and, most significantly,
some impressive camera work, makes this a remarkable film which deserves its status as
a masterpiece.
On the acting side, it is Jules Berry who is
most memorable, playing the role of the Devil with a burlesque relish, replete with villainous
charm. Although his portrayal of Lucifer as the ageing disreputable Don Juan is
familiar from many earlier films, his arrival really does bring the film to life at its
flagging mid-point. Arletty is also distinguished by a subdued yet captivating performance
in a role that has more depth than many she had previously assumed in her film career.
What particularly marks this film out as a
classic is the quality of its cinematography. Not content with conventional photographic
techniques, Carné developed some new methods for creating just the effect he was
after. These include the haunting dance scene where the film is slowed to give the
impression of time coming to a halt, allowing the two Devil’s emissaries to commence their
evil machinations. Later on, a similar trick allows Carné to transport
his fated lovers to a dreamlike garden. The arrival of the Devil in the second half
of the film is no less impressive, using a combination of noise and lighting to conjure
up an instant sense of drama and anticipation.
Les Visiteurs du soir is a good example
of the trend followed by many French film-makers during the Occupation to eschew contemporary
settings and subjects through fear of censorship (and even imprisonment). Yet, as
in many films made at this time, the film’s overt fantasy setting disguises a hidden purpose.
On the surface, the film appears to be a simple romantic fable set in a fairy tale castle
with demons, knights and princesses. However, there is clearly more to this
film than first meets the eye and many have commented on the film’s allegorical sub-text.
The reluctance of the two lovers Gilles and Anne to separate in the second half of the
film, despite the best efforts of man and Devil, is surely a covert message to the French
nation to hold out against the German overlords. Beneath a stone façade of
apparent submission, the heart of resistance for the cause of liberty will continue to
beat.
© James Travers 2001
See also:
The life of Marcel Carné
Drôle de drame
Hôtel du nord
Le Jour se lève
Quai des brumes
Les Enfants du paradis
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