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天井棧敷の人々
天井棧敷の人々

天井棧敷の人々

19453h 10m★ 8.1ドラマロマンス

あらすじ

1840年代のパリ・犯罪大通りを舞台に繰り広げられる恋愛絵巻……。ナチス占領下のフランスで、映画人が抑圧の鬱憤を晴らすかのごとく製作した、映画史上に残る名作。

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キャスト

Arletty
Arletty
Claire Reine, dite Garance
Jean-Louis Barrault
Jean-Louis Barrault
Baptiste Debureau
Pierre Brasseur
Pierre Brasseur
Frédérick Lemaître
Marcel Herrand
Marcel Herrand
Pierre-François Lacenaire
María Casares
María Casares
Nathalie
Louis Salou
Louis Salou
Édouard comte de Montray
Pierre Renoir
Pierre Renoir
Jericho
Jane Marken
Jane Marken
Mme Hermine
Gaston Modot
Gaston Modot
Fil de Soie
Fabien Loris
Fabien Loris
Avril

スタッフ・制作会社

監督: Marcel Carné

脚本: Jacques Prévert

音楽: Maurice Thiriet

制作: Raymond Borderie / Fred Orain

撮影監督: Roger Hubert / Marc Fossard

制作会社: Société Nouvelle Pathé Cinéma

TMDB ユーザーのレビュー

CinemaSerf
CinemaSerf
★ 7

Told in two acts with a curtain rising on both sections, this is quite a stylish, lavish even, and entertaining tale of a lady of the streets. "Garance" (Arletty) who sometimes uses her real name of "Claire Reine" is actually quite a decent woman who is wrongfully accused of pickpocketing in a busy market. Fortunately, the mime artist "Baptiste" comes to her rescue and quickly falls hook, line and sinker for the beautiful and charismatic woman. His problem is that she has no lack of suitors, and over the next three hours or so we are introduced to the lively and foppish "Lemaître" (Pierre Brasseur); the even more flamboyant but roguish "Lacenaire" (Marcel Herrand) and the aloof and sterile, but very wealthy "Comte de Montray" (Louis Salou). The plot itself isn't especially remarkable. A woman in the flushes of youth and attractiveness being sought after by a diverse collection of men. What makes this stand out is the marvellously applied mixture of heavily scored theatrical and cinematic styles. It's a love story and an adventure. How might things pan out for her as she ages, though? As her outward beauty begins to fade? Will any of them (or anyone else) still want her? Will she want them? The characters are quite roundly developed as director Marcel Carné takes his time to illustrate not just the persona of the heroine, but also those of her suitors whilst offering us a critique of a society in general that in early 19th century France mixed opulence with poverty, violence with tenderness. By using the different genres of theatre performances, Carné creatively provides us with a more subtle conduit between her series of trials and tribulations that allows us to tap into themes of culture and religion as well as human nature in many of it's guises. Arletty is on great form, as is Brasseur and given it was made just as the Nazi occupation was coming to it's own denouement, is quite an astonishingly artistic achievement that shows a nation with a healthy and defiant confidence in it's own identity and credentials.

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