Daybreak is one of the best, if not the best Gabin film of the French poetic realism. Gabin was a handsome young man, still supple ,and here he plays François, a virile, vigorous workman ,disputed by two womenan older seductress, Clara, and a girl, Françoise. The workman François registers as one of Gabin's top performances, especially memorable; and the movie is maybe the finest product of the famous Carné/Prévert collaborationamong the richest in human, psychological content. François is a doomed character in this suspenseful dramayet the movie does not belong to Prévert's symbolical , fatalist plays, it rather gives place to several realistic characterizations. The economy a means needs not be underlinedit is a drama of four characters (the three already mentioned, and a deprived , poisonous debauch oldster). The story ,presented from François' point of view, is told as he, after murdering his rival, recapitulates the phases of his love affair. François recounts how he met a girl, while at work; how he dated her; how she had a mysterious night life, and he eagerly follows her and spies. Then enter a demoniac character, from the variety's world, and Gabin begins a relationship with the former mistress of this spinster. He gets caught in a net of lies and of dirty secrets which destroy his inner coherence. His need for joy remains unsatisfied, he is betrayed. He is a honest rough tough workman unaccustomed with the ambiguities of the small world that allowed him in. His drama is precise, well defined, tangible and concrete. If other poetic realism outings favored the lyricism, this one favors the realism. The things inhere are very concrete, and of a remarkable good taste, something Carné had in his best days.
This is not a symbolical misty allegorical drama, but a love movie, a hugely interesting and beautiful and humane, with likable characters, very _relatable to. One of the great French love movies. Particularly involving and enjoyable and masterly composed. The good taste is enhanced, strengthened by a particular lightnessthe touch is light, fine, masterly ;such art warms the heart, encourages and satisfies the mind. It is one of the great almost unknown (today) films. Yet this precious _pellicle registered Gabin in one of his ample, large youth role, and benefited from Carné's talent . Indeed, one cannot love Carné and Gabin too much .
And Gabin performs with such a verve, a dynamism, an obvious pleasure he takes in his role . When he did not enjoy a part, he could simply be lukewarm, detached, borednot so here, where his interest is evident.
From this film, one understands why Gabin was looked upon as a sex symbol; in his work outfit, or in his leather jacket, he looked awesome indeed. He was young, blue eyed, a chainsmoker, and his head, with his mean mouth, had a leonine air. This makes the film especially important for all the Gabin fans, who can see him here in his best shape.
For every one who wishes a marvel, or just a strong large Gabin performance, this is the movie .A singularly graceful one.
In popular terms and lowbrow jargon, I would state that here is the coolest Gabin movie that I know. It is cool in all respectsfirst of all Gabin himself; the other roles (Clara, Françoise, the demoniac tamer) ; the movie's look and brio. Gabin is selfaware of his coolness in the Cagney/ Gable/ Grant/Bogart/Brando/Rourke/Crowe way .He knows he is young, handsome, has beautiful hands and looks cool as a chainsmoker. The movie is a tribute and a testimony of his youth coolness. Yet it's also far from being only a pretext for showing Gabin's good looks. It is a work of art, a meaningful work made with unspeakable lightness and discernment and also instinct, feel for these things. It leaves a wonderful taste. Gabin's coolness is only a side, an aspect of the movie, it serves the film, it does not deprive it of autonomy and inner interest. It is subordinated to the film's significance.
It verifies again the assertion that Gabin basically made one role throughout with careerwith virtuous variations and deft modulations (as opposed to the _chameleonic Americans like Brando, De Niro, Pacino, Rourkeand also unlike the great Europeans: Simon, Fresnay, Jouvet, Stroheim and Belmondo). This is part typecasting, and part vocation. Gabin brought all the roles to himself (and the roles were anyway visibly similar and homogeneous); not that he did not take chances, but in his choices, so stable and almost uniform, there was something at unison with his own human nature.
This is not a symbolical misty allegorical drama, but a love movie, a hugely interesting and beautiful and humane, with likable characters, very _relatable to. One of the great French love movies. Particularly involving and enjoyable and masterly composed. The good taste is enhanced, strengthened by a particular lightnessthe touch is light, fine, masterly ;such art warms the heart, encourages and satisfies the mind. It is one of the great almost unknown (today) films. Yet this precious _pellicle registered Gabin in one of his ample, large youth role, and benefited from Carné's talent . Indeed, one cannot love Carné and Gabin too much .
And Gabin performs with such a verve, a dynamism, an obvious pleasure he takes in his role . When he did not enjoy a part, he could simply be lukewarm, detached, borednot so here, where his interest is evident.
From this film, one understands why Gabin was looked upon as a sex symbol; in his work outfit, or in his leather jacket, he looked awesome indeed. He was young, blue eyed, a chainsmoker, and his head, with his mean mouth, had a leonine air. This makes the film especially important for all the Gabin fans, who can see him here in his best shape.
For every one who wishes a marvel, or just a strong large Gabin performance, this is the movie .A singularly graceful one.
In popular terms and lowbrow jargon, I would state that here is the coolest Gabin movie that I know. It is cool in all respectsfirst of all Gabin himself; the other roles (Clara, Françoise, the demoniac tamer) ; the movie's look and brio. Gabin is selfaware of his coolness in the Cagney/ Gable/ Grant/Bogart/Brando/Rourke/Crowe way .He knows he is young, handsome, has beautiful hands and looks cool as a chainsmoker. The movie is a tribute and a testimony of his youth coolness. Yet it's also far from being only a pretext for showing Gabin's good looks. It is a work of art, a meaningful work made with unspeakable lightness and discernment and also instinct, feel for these things. It leaves a wonderful taste. Gabin's coolness is only a side, an aspect of the movie, it serves the film, it does not deprive it of autonomy and inner interest. It is subordinated to the film's significance.
It verifies again the assertion that Gabin basically made one role throughout with careerwith virtuous variations and deft modulations (as opposed to the _chameleonic Americans like Brando, De Niro, Pacino, Rourkeand also unlike the great Europeans: Simon, Fresnay, Jouvet, Stroheim and Belmondo). This is part typecasting, and part vocation. Gabin brought all the roles to himself (and the roles were anyway visibly similar and homogeneous); not that he did not take chances, but in his choices, so stable and almost uniform, there was something at unison with his own human nature.