Scott44 ***Interesting commentary from Varlaam ("A tragedy of everyday proportions", Varlaam from Toronto, Canada, 3 February 1999), who uses actor math to describe Jean Gabin. Also, writers_reign from London ("Twilight At Dawn", writers_reign from London, England, 8 December 2003) adds context for the principal participants. Finally, nowlang ("A French Masterpiece about the Tragedy of a Simple Man's Life", nowlang ([email protected]) from Small Town, New England, USA, 12 September 2006) adds interesting insight.***"Le jour se lève (Daybreak; 1939, Marcel Carné, France) is another superlative film from Carné. A common laborer is known to have killed a man, and is holed-up awaiting his fate. With the arrival of the Second World War looming, the participants involved in this project still manage to leave behind a story filled with understanding about the human condition.The film is very brave, as it is not hard to argue that "Daybreak" is a veiled protest against the increasingly repressive government. (The Vichy regime, which collaborated with the Nazis, took over a year after this film's release.) In the film's opening, a title card informs us that a murder has been committed and we will see what caused the murderer to act. The message has little purpose but to create the idea of a government proclamation announcing that someone is an enemy of the state. Who threatens the state the most? The French police exacerbate tensions whenever possible. They have François (Jean Gabin) trapped in his third-story apartment. Without a word of dialog, they begin shooting at François. Later, they deny a potentially crisis- ending conversation between François and several of his coworkers. When the laborers in the street begin to show signs of support for François, the police crush the public expression with violence against the helpless crowd. By starting with the title card that clarifies the government's official position and then presenting a story that encourages sympathy for the public enemy, "Daybreak" makes the statement that the present French government is getting out of control.Some viewers have an issue with the central cheat in the story, namely that François completely fails to recognize he has a legitimate case to make to an impartial jury. This is explained in part by the Fascistic police, which offer no sign they intend for him to receive a fair trial. There also seems to be relevance in the deceased having been an animal trainer. His ex-girlfriend and show partner Clara (Arletty) will describe some of Valentine's cruelty to his dogs by mentioning a specific example. So, perhaps François does not take steps to improve his situation because he is identified with the unfortunate puppies who can never escape Valentine's sadism. When weary François hysterically communicates with the crowd below, he might be offering some of the despair of show animals being cruelly trained. (An example of how Valentine torments François is by repeatedly calling him "simple." BTW, "Daybreak" sure has a lot more awareness about the plight of animals than does the "Wizard of Oz," also made in 1939.)It is a trademark of the collaboration between Carné (direction) and Jacques Prévert's (dialog) that a sense of balance is felt with the entire cast. Even the characters with brief moments on screen are perfectly realized. Jean Gabin is excellent in the lead role. He's one of my all-time favorite actors. If you mixed Spencer Tracy's looks with Humphrey Bogart's grit, sprinkling in Robert Mitchum's indifference, while supplying the result with a vast quantity of cigarettes, you might produce an actor similar. Gabin excels at portraying primitives, and is as convincing as a criminal as he is endearing. Gabin is a perfect choice for this despairing role of a laborer who grew up in an orphanage and now endures soul-crushing work to get by."Daybreak" is useful in understanding how Arletty was a successful leading lady despite being in her 40s. As an actress, she brings mystery and cleverness to her roles. While Arletty/Clara is an attractive woman, it is obvious that the younger, sensual Françoise, is intended to be the head-turner. Still, Arletty's Clara is a lot more streetwise than Françoise. Clara does not fall to pieces when situations get tough. Arletty appears to have been successful as a romantic lead during this turbulent era because she seems to offer the French male a partner that can hold up under duress.The sexuality is very advanced for 1939. There are four main characters and each has partnered with two others of the group. The scene where François joins Françoise on her bed is risqué. Françoise is also "ruined" when it is revealed her relationship with Valentine is not platonic. One can imagine the government censors having many internal conversations about just the sexual behavior on display. (I was a little annoyed in the naming similarity between François and Françoise. However, maybe this is to emphasize the similar states of mind the pair have at the finish.)If you are a cinema buff you won't want to miss this.

Armand sentimental, far to be great, almost common. but seductive under the science of Carne to give delicate nuances to flash backs, to transform scenes in little gems. and, in same measure, the art of Prevert to transform each detail in a precise piece of puzzle. a film about love and innocence. about a kind of Mephisto - remarkable performance of Berry - and delicate lights of role in Jacqueline Laurent performance. but, in many aspects, a film of Arletty and Jean Gabin. not a surprise. the names of director and scriptwriter are basic guarantees for a remarkable work. but, after so many years, like many other films," Le jour se leve" has more seductive sparkles and great profound value.

adrian290357 There is something so lyrical about the tale of the doomed François portrayed by the great Jean Gabin that even in its hardest luck moments you feel you are watching poetry in motion.In addition, Le Jour se Leve is a character study with all the contradictions that tend to go with pained souls like François' - except that there is a further depth that renders the film quite universal, a depth made of little moments in human relationships and the flaws that gently emerge but only renders the humans involved more endearing.Still, all that glitters is not gold: the apparently pure Françoise has actually been bedded by M. Valentin (Berry); and the police are more interested in getting their man than in saving him.The direction is precise and inspired, resorting to the then much used flashback technique but never allowing it to dominate the film.The photography - well, it is gorgeous and it gives the film its expressionistic ambiance. Finally, Gabin - one of the greatest actors ever in one of his greatest roles. Need one say more?The ending can be predicted from the moment François kills a visitor in his apartment but that aside it is a film full of cinematographic treasures, acting to gape at, and a quality of direction that is seldom seen these days. A must see for anyone who cares about movies.

gabrizzio555 the main setting of "le Jour Se Leve" is the top floor of a french apartment. the film opens with Jean Gabin character Francois - a factory worker- killing a dog trainer named Valentin who we find out (as the story unravels itself) was "involved" with his girl. Francois then barricades himself from the police, and the reason for the death of Valentin is told in simple sets of flashbacks that Gabin remembers between cigarettes as he decides what his next move will be. the story is simple and delicate in manner and substance but nonetheless the director/writer team Marcel Carne and Jacques Prevert succeed in turning the realistic (and sometimes edgy) conversations, movements and places into poetry. and in response to an earlier review, the simplicity of the flashbacks, is what makes the movie so intriguing. instead of relying on a heavy plot that might challenge audience, Prevert and Carne decide to put great detail into a simple tale about a sentimental man who is torn to ruin by a contemptuous and Machiavellian man.