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Credits
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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
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