Port of Shadows

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Starring Jean Gabin (The Grand Illusion any more) and Michel Simon (The Two of Us, Boudu Saved from Drowning) Port of Shadows shows people who life has roughed up trying to find love and knowing it’s as illusive as the fog.

Gabin has ditched his duties as a soldier in Indochina and is on the run. He’s sou-less, friendless, and jaded when he hops a ride from a truck driver who suggests he go to a hole in the wall bar on the harbor shore. It’s a drab place run by a bartender who hasn’t totally given up on life the way most of the characters have.

Here Gabin meets a beautiful girl, who’s trying to escape her gangster boyfriend. Both Gabin and her somewhat creepy guardian Simon try to protect her from the mobsters who’re looking for Maurice, her old love. Port of Shadows is about broken, bruised people who hope things will get somewhat better, but strongly doubt it.

The plot has a few twists and the characters emit a film noir, quasi-Bogart vibe with an understated French flair, but the film is mainly about mood, a melancholy mood.

The Two of Us

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Claude Berri’s autobiographical, The Two of Us is a gem set during WWI in France. It opens with Claude, a mischievous boy, stealing a toy tank from a toy store getting chased all around. Claude finds trouble at every turn driving his father to distraction. Because since they’re Jewish, the safest path for the family is to lay low, but Claude constantly calls attention to himself with his troublemaking. A family friend arranges for Claude to go live with her Catholic parents.

The problem is that “Grampa” is quite a bigot and spouts all sorts of anti-Semitic slurs. Claude is coached to hide is religion so he’ll be safe in the countryside. Nonetheless, he’s mercilessly bullied for being the new kid from Paris. You just can’t win.

Based on the director’s own childhood experience, there’s a sophisticated treatment of a close relationship that grows in spite of prejudice. Played masterfully by Michel Simon, Grampa loves this boy and takes him under his wing, dealing with his troublemaking with patience Claude’s father couldn’t muster. Berri chose Cohen to play Claude while visiting a Jewish school and seeing him getting into trouble in class and later hiding from the principal behind some curtains. The shoes poking out from under the curtains gave him away. A natural actor, Cohen brings a realism to his understated performance.

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The Two of Us, as Truffaut commented, shows how most French people lived during the war, those who weren’t in the Resistance or helping the Germans. People just going about their business; people who could be both kind, loving, and yet be hindered by ugly beliefs. It’s a deft film that can portray bigotry without supporting hatred all the while showing the goodness mixed in with the prejudice.

The Criterion Collection’s DVD, as usual, includes insightful short interviews that deepen one’s understanding of the film.

If you liked Claude Berry’s later films, Jean de Floret or Manon of the Spring, you’ll love The Two of Us.