Introduction and details of Marcel Carné.

Personal experience Marcel Carné lost his mother when he was five years old, and his father was often absent, mainly brought up by his grandmother and aunt. The father hoped that his son would follow in his father's footsteps and become a carpenter, but his son firmly opposed it and his father had to arrange for him to work in an insurance company. /kloc-at the age of 0/7, Kahn was fascinated by movies and music, studied photography in his spare time and obtained a certificate.

With the help of friends, he entered the studio and became an assistant photographer and director of The New Gentleman (1929). Carn once worked as a journalist and critic, published articles in film magazines and weekly films, and showed great interest in German expressionist films and American gangster films. In his eyes, the camera is a role in the play. Carn's first film was a documentary: Nolan City, Sunday Paradise (1929). This film caught the attention of rene claire, who asked Kahn to be his assistant and participate in the filming of Under the Paris Roof (1930). From 1930 to 1932, Kahn continued to engage in journalism while shooting commercials. As an assistant director, he participated in the production of films such as Big Gambling 1934 and Peace of Mind Entertainment (1935). From 65438 to 0936, Kahn began to coach Jenny alone. He invited famous screenwriters and dialogue writers to join him, and from then on, they began their perfect and harmonious creative stage, which had a lasting influence on French films. 194 1 year, Vichy puppet regime considered Kahn's films indecent and censored him, so Kahn had to seek sustenance in historical themes. After the war, he filmed Paradise, which became a classic in film history.

The main work "Fog Pier" Kahn once worked as a reporter for some film magazines. 1929, debut on Sunday, documentary short film Nojean-Paradise. Later, he worked as an assistant for rene claire (under the roof of a Parisian, 193 1) and Jacques Federer. 1936 started directing films independently. He met the poet Jacques Presley, and in the next ten years, he created most of Kahn's films. After Jenny and Strange Things, their collaboration "Fog Pier" was a great success. The colorful and poetic dialogue written by Plavi, the soundtrack of Maurice Jobert, the set designed by the throne, the photography of Schovertan, the excellent acting skills of screen lovers jean gabin and Mitchell Morgan, as well as Michel Simon and Pierre Burroughs, make The Fog Pier one of the most outstanding works in French movies. Although the poetic realism school was not founded by Kahn, its aesthetic characteristics have been vividly reflected in this film. Later, Kahn filmed Hotel in the North and Dawn.

During the Second World War, in Marcel Carné, Kahn and Plavi turned to the medieval theme and filmed Nightwalker and Children in Paradise. The latter film is like a great speech about art and reality, comparing various dramas, such as farce, tragedy, pantomime, movies and even life itself. Because of its elegant style, balanced structure, outstanding quality and exquisite form, it achieved great success in the world after the war and was the pinnacle of poetic realism.

1946, due to the failure of the night gate, Kahn and Presway parted ways. Since then, his directing ability has been questioned more and more, and critics have increasingly attributed his past masterpieces to Pravis' plays and the acting skills of jean gabin, Mitchell Morgan and Alletti. Even excellent works like Thales Lagan can't save his reputation. In the middle and late 1950s, Kahn was regarded as a representative of "high-quality movies" by a group of young film critics who would be directors of "New Wave" in the future, and was severely criticized. Nevertheless, Kahn continued to make films until 1977, and his career as a director lasted almost half a century. 1979 was elected as an academician of the French Academy, making him the first film director ever to win this honor.

Marcel Carné is Claire and Federer's assistant. His development was relatively late, but most of his works were in the 1930s. 1936, independently directed and filmed "Jenny", a style exercise dedicated to a try; Later, he directed the representative works of poetic realism: Fog Pier (1938), North Hotel (1938), The Sun Rises (1939), and then Night in the Cellar (1949). Carn's creation is closely related to the surrealist poet and self-writer Jacques PuLoewit, who has become the screenwriter of almost all films directed by Kahn. Sadoul once pointed out: Except Drucker, the French have always ignored the importance of film writers. It can even be considered that the reason why Impressionism failed to have any impact on international film art may be due to the lack of a talented playwright and a French Karl and Mei Yu. In 1930s, French film writers began to gain an important position in France, and Loewit was like the French "KarlMayer" in this period. Bazin also noticed this point, and found that "it seems that in order to better reflect this relevance in the drama, the same actor embodies the same tragic fate of civilian heroes in different films-he is jean gabin in Spanish Infantry Company, Babe on the Run, Devil Wearing Prada and The Sun Also Rises".

Carn's film The Sun Rises is basically a description of the criminal's "self-guilt". The characters in the play are often ordinary people, who involuntarily go to "crime" because of poverty and hunger in real life. They yearn for a pure love life, but lose the right to enjoy it. Their experiences and sorrows always make their psychology tend to a state of self-punishment. When people compare Kahn with the representative figures of poetic realism, they often think: Claire is dreamy; Vitality is beautiful; Rehnova is realistic; On the other hand, carn is pessimistic. Kahn's works, in a sense, more accurately reflect Hooke's mood at the beginning of the century, and represent people's disgust and horror of metropolitan life. Compared with others, Kahn's works also make people see the psychological characteristics of the characters more mature. In Kahn's films, ordinary criminals are constantly undergoing psychological tests. In Fog Pier, the psychological torture caused by unintentional crime. In Sunrise, the criminal committed suicide at sunrise after a night of painful thinking. These powerless "rebel" images always end in ultimate failure, even death, and the disappearance of the woman who loves him. In Kahn's films, there are also the characteristics of detective films and gangster films. However, his performance is different from that of American "Hollywood" movies. He tends not to express the external formation and behavior, but to describe the inner pessimism of the characters.

Like Jenny, Marcel Carné's Strange Tales from a Lonely Studio (1937) successfully shows the unique humor of Londoners. Although the film was once snubbed, it finally gained a good reputation in 195 1. North Hotel (1938) is in line with carn's worldview, although the black realism of the film comes more from literature than the painting atmosphere developed by Karl in Fog Pier. Here, the road to love, art and freedom is blocked, and this truth runs through the dawn (1939). As early as 10 years ago, in Citizen Kane, Kahn perfected the dramatic structure of the memory film (in Wells' films, the characters are always narrating; And here, the characters are remembering). Before Gate of the Night (1946), Kahn filmed Children in Paradise (1945 1). This time, poetic realism chose Paris, from which a new romanticism with more vitality than lust was revealed. It is considered that Henry IV and Ivan the Terrible were filmed in the same year. From 65438 to 0947, the war ended and a new era began. The Italian neo-realism model was accepted and poetic realism was no longer popular. Through Mary in the Harbor (1950), Kahn tried to break through himself and adopted many practices that were contrary to his past views. Manichaeism, crazy love and fate are over. But in any case, carn will never reach the height of the past. In 1930s, René Claire, who was full of humor and comedy spirit, was the most active figure in the French film industry. Revive the theme of ordinary people. Vigor; Marcel Carné who describes the psychology of criminals; And Jean Reno Wa, who is good at noble themes. Their works have different interests. Compared with Americans, the French prefer a leisurely and relaxed life, especially the French are famous for their rich feelings. All these are markets of poetic realism. As the producers of mainstream French films and a group of outstanding intellectuals at that time, the French poetic realism film genre created and formed by them is still regarded as the most French film genre.

Night visitors from Marcel Carné.

1930: Nojean-Sunday Paradise and Documentary.

Marcel Carné 1936: Jenny (dialogue: Jacques Prevett, composer: Cosma, main actors: francoise Luo Shan, Abel Prejean).

1937: Strange things.

1938: The Fog Pier (based on Mark Oren's original work, written by Jacques Proft, composed by Jobert, set by Traune, photographed by Xiao Futan, with main actors: jean gabin, Michelle Morgan, Michel Simon and Pierre Burroughs). North hotel.

1939: Dawn (screenwriter: Jacques Vio, dialogue: Jacques Prevett, main actors: jean gabin, Sil Berry, Alletti, Jacklin Lauren).

1942: The Night Visitor (screenwriter and dialogue: Jacques Prevett and La Roche, main actors: alain cuny, Alletti, Sil Berry and F Ledoux).

1945: Children in Paradise (screenwriter and dialogue: Jacques Prevett, main actors: J-L barall, Alletti, Pierre Burroughs, Maria Casare, Marcel Elam).

1946: The Gate of the Night (screenwriter and dialogue: Jacques Proft, composer: Cosma, setting: Traunet, main actors: Yves Montande, Natalie Nature, S Reggiani, Pierre Blaser).

Mary in the harbor.

Juliet or the Answer to a Dream, starring Gerard Philipe.

1953: Darius Lagan (based on Zola's original, starring simone signoret and Ralph Varona).

1954: The Air in Paris (main actors: jean gabin, Laurent Lesford).

1956: My country (starring Gilbert Beko).

1958: Forger (written by Kahn and Sigur).

196 1 year: open space.

1963: Stellaria for birds.

1965: Three rooms in Manhattan.

1967: Wolf cubs.

197 1 year: the murderer who was directed.

Award-winning records were shortlisted in the main competition units of three major international film festivals in Europe:

Venice: Fog Harbor (1938), Dawn (1939), Red Apricot Out of the Wall (1953), Parisian Style (1954) and Three Rooms in Manhattan (1965).

Cannes: Juliet or the key to a dream (195 1)

People's evaluation of Kahn's artistic skills laid his style. Because he started from shooting street documentaries, he put forward a film mode of taking to the streets, going out of the studio and hitting life directly in 1933. He abandoned the technology-based film language of his predecessors, but kept their realistic methods of framing and describing characters and details. He pursues an atmosphere, which is created by modeling, image composition and light and shade. Rene claire said to pursue "a more authentic interpretation of life than life itself". Therefore, truth can be obtained in two ways: one is the director's director, and the other is the poetic context of the story. This is what Kahn defined as "poetic realism". This kind of realism is not unique to Kahn in French films, but Kahn made it shine in the dark, which produced a tragic and unfortunate charm-the charm of social reality. Carn's film crew is very stable. This helps to maintain his rational, rigorous, clear and calm unified style and world outlook. Carn keeps the rhythm of the film by forehand and backhand and dialogue. He is more like a painter than an architect in rejecting the film effect. He let the city predict the fate, let the scenery reflect the psychology, and let the camera act as the characters in the play. This kind of painting style makes the stage, dream, hope or anxiety he built feel strange, such as night guests, fog pier and night door. Carn's worldview is Manichaean. Characters/symbols, characters/poems constitute his films independently. Good and innocent people always face the wicked; And fate always favors the bad guys; Good people and poor people will always encounter misfortune, and even love is not invincible. You can't grow old together. Whether women like it or not, they will lose men, which is the concept of love self-punishment explained by Kahn. During the ten years from 1936 to 1946, Kahn's poetic realism supported this idea of reflecting the sunny days of the times.

Marcel Carné