La Bête Humaine (film)
| La Bête Humaine | |
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Theatrical release poster
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| Directed by | Jean Renoir |
| Produced by | Raymond Hakim Robert Hakim |
| Screenplay by | Jean Renoir Denise Leblond |
| Based on | the novel La Bête Humaine by Émile Zola |
| Starring | Jean Gabin Simone Simon |
| Music by | Joseph Kosma |
| Cinematography | Curt Courant |
| Edited by | Suzanne de Troeye Marguerite Renoir |
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Production
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Paris Film
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| Distributed by | Lux Compagnie Cinématographique de France Paris Films Location |
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Release dates
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Running time
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100 minutes |
| Country | France |
| Language | French |
La Bête Humaine (English: The Human Beast and Judas Was a Woman) is a 1938 French film directed by Jean Renoir, with cinematography by Curt Courant. The picture features Jean Gabin, and is loosely based on the novel of the same name by Émile Zola.[1]
La Bête Humaine is partially set "on a train that may be thought of as one of the main characters in the film."[2] Although generally listed as a romantic drama, it is sometimes considered a precursor to the film noir genre.
Contents
Plot
The story centers on a train engineer Jacques Lantier (Jean Gabin) who lusts after Séverine Roubaud (Simone Simon), the wife of his co-worker Roubaud (Fernand Ledoux).
Roubaud discovers that his young wife, Séverine, has been seduced by her godfather, the wealthy Grandmorin. Jealous, Roubaud forces Séverine to assist in the murder of Grandmorin during a train journey. The murder is witnessed by a railway worker, Jacques Lantier, but he keeps quiet because he is in love with Séverine. Disgusted by what her husband has done, Séverine has an affair with Lantier and pleads with him to kill her cruel husband. Little does she know that Lantier also has a dark secret.
Cast
- Jean Gabin as Jacques Lantier
- Simone Simon as Séverine Roubaud
- Fernand Ledoux as Roubaud (as Ledoux Sociétaire de la Comédie Française)
- Blanchette Brunoy as Flore
- Gérard Landry as Le fils Dauvergne
- Jenny Hélia as Philomène Sauvagnat
- Colette Régis as Victoire Pecqueux
- Claire Gérard as Une voyageuse
- Charlotte Clasis as Tante Phasie, la marraine de Lantier
- Jacques Berlioz as Grandmorin
- Tony Corteggiani as Dabadie, le chef de section
- André Tavernier as Le juge d'instruction Denizet
- Marcel Pérès as Un lampiste
- Jean Renoir as Cabuche
- Julien Carette as Pecqueux
Production
Jean Gabin wanted to star in a film about locomotives and wrote a screenplay called Train d'Enfer, that was originally to be directed by Jean Grémillon.[3] Dissatisfied with the script, Grémillon suggested an adaptation of La Bête humaine. After his success starring in Renoir's Grand Illusion (1937), Gabin preferred to work with Jean Renoir again, and hired him instead of Grémillon. Renoir eventually wrote the script over a period of eight to fifteen days.[3] After its completion, Renoir read the screenplay to Gabin's producer Robert Hakim, who asked for "trifling modifications".[3]
Renoir confessed that at the time when he wrote the screenplay, he had not read Zola's novel in over 25 years: "While I was shooting, I kept modifying the scenario, bringing it closer to Zola ... the dialogue which I gave Simone Simon is almost entirely copied from Zola's text. Since I was working at top speed, I'd re-read a few pages of Zola every night, to make sure I wasn't overlooking anything."[3]
Filming commenced on August 12, 1938, with exteriors on the Gare Saint-Lazare and at Le Havre.[3] Due to running time restrictions, Renoir had to omit several celebrated occurrences from the novel.[4]
Reception
Critical response
Frank S. Nugent, film critic for The New York Times, gave the film a positive review even though he felt uncomfortable watching the film, writing:
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It is hardly a pretty picture, dealing as it does with a man whose tainted blood subjects him to fits of homicidal mania, with a woman of warped childhood who shares her husband's guilty secret of murder... It is simply a story; a macabre, grim and oddly-fascinating story. Sitting here, a safe distance from it, we are not at all sure we entirely approve of it or of its telling. Its editing could have been smoother—which is another way of saying that Renoir jerks his camera, jumps a bit too quickly from scene to scene, doesn't always make clear why his people are behaving as they do. But sitting here is not quite the same as sitting in the theatre watching it. There we were conscious only of constant interest and absorption tinged with horror and an uncomfortable sense of dread. And deep down, of course, ungrudged admiration for Renoir's ability to seduce us into such a mood, for the performances which preserved it.[5]
Accolades
Nominations
- Venice Film Festival: Mussolini Cup, Best Film, Jean Renoir; 1939.
References
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<references />, or <references group="..." />External links
- Lua error in Module:WikidataCheck at line 28: attempt to index field 'wikibase' (a nil value). La Bête Humaine at IMDb
- La Bête Humaine at Bright Lights Film Journal
- La Bête Humaine information site and DVD review at DVD Beaver (includes images)
- La Bête Humaine essay at Criterion Collection by Geoffrey O'Brien
- La Bête Humaine short film clip on YouTube
- ↑ Lua error in Module:WikidataCheck at line 28: attempt to index field 'wikibase' (a nil value). La bête humaine at IMDb.
- ↑ Bogdonovitch, Peter. Interview on special features of the Criterion Collection imprint.
- ↑ 3.0 3.1 3.2 3.3 3.4 Durgnat, R., Jean Reinoir (1974), p. 172. ISBN 0-520-02283-1
- ↑ Durgnat, R., Jean Renoir (1974), p. 174. ISBN 0-520-02283-1
- ↑ Nugent, Frank S. The New York Times, film review, "Zola's The Human Beast Comes to 55th Street as a Somber and Powerful French Film by Jean Renoir," February 20, 1940. Last accessed: December 30, 2007.
