Manon (1949)
Drame
La France, nouvellement libérée du joug allemand. Pris comme passagers clandestins à bord d'un navire, Manon, une jeune femme accusée de collaborer avec les nazis, et Robert, un résistant qui l'a sauvée des représailles, racontent au capitaine les nombreux défis qu'ils ont dû relever pour survivre.
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Overview
La France, nouvellement libérée du joug allemand. Pris comme passagers clandestins à bord d'un navire, Manon, une jeune femme accusée de collaborer avec les nazis, et Robert, un résistant qui l'a sauvée des représailles, racontent au capitaine les nombreux défis qu'ils ont dû relever pour survivre.
Cast
- Serge Reggiani as Léon Lescaut
- Michel Auclair as Robert Dégrieux
- Cécile Aubry as Manon Lescaut
- Andrex as Smuggler
- Raymond Souplex as M. Paul
- André Valmy as Lt. Besnard
- Henri Vilbert as Ship Captain
- Héléna Manson as Gossipy Woman
- Simone Valère as Isé
- Gabrielle Dorziat as Saleswoman
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Reviews
2024-05-16
I need fun and sparkle - I hate poverty!
Manon is directed by Henri-Georges Clouzot and Clouzot co-adapts the screenplay with Jean Ferry from the novel "Manon Lescaut" written by Abbe Prevost. It stars Serge Reggiani, Michel Auclair, Cécile Aubry, Andrex and Raymond Souplex. Music is by Paul Misraki and cinematography by Armand Thirard.
Clouzot, still smarting from the hysterical fall out from his brilliant "Le Corbeau", realigns the Prevost novel to post war France right after the liberation from Nazi occupancy. With his muse set alight, Clouzot set about putting on film the dark venality of the human condition, to show that post war France was hardly a joyous new world. Right here with "Manon" he lets rip, thrusting to the forefront black market racketeers and prostitution, people who inhabit a morally corrupt city in serious decay.
The central narrative concerns Robert Dégrieux (Auclair a splendid dope) and Manon Lescaut (Aubry cunningly adorable), where the former quickly falls in love with the latter and finds himself spun into a vortex of mistrust and misjudgements, becoming more compulsive and foolish by the day. The pursuit of a dream life by both Robert and Manon, runs concurrently with that of the Jewish people attempting to reach Israel, it is here where Clouzot is building towards a quite outstanding last quarter of film.
As the pic pulses away with film noir character beats, these are matched by the visual astuteness of the director and his cinematographer, who use high contrasts and canted angles for narrative embracement. A number of striking sequences grab the attention, be it the portentous meeting of Robert and Manon in the war torn ruins of a church (hello Christ imagery), or a mass trek through the desert beneath ominously low night time clouds, the makers ensure the mood is constantly foreboding.
Superbly performed by the cast, "Manon" is further evidence of what a true great of cinema Clouzot was. 9/10
Manon is directed by Henri-Georges Clouzot and Clouzot co-adapts the screenplay with Jean Ferry from the novel "Manon Lescaut" written by Abbe Prevost. It stars Serge Reggiani, Michel Auclair, Cécile Aubry, Andrex and Raymond Souplex. Music is by Paul Misraki and cinematography by Armand Thirard.
Clouzot, still smarting from the hysterical fall out from his brilliant "Le Corbeau", realigns the Prevost novel to post war France right after the liberation from Nazi occupancy. With his muse set alight, Clouzot set about putting on film the dark venality of the human condition, to show that post war France was hardly a joyous new world. Right here with "Manon" he lets rip, thrusting to the forefront black market racketeers and prostitution, people who inhabit a morally corrupt city in serious decay.
The central narrative concerns Robert Dégrieux (Auclair a splendid dope) and Manon Lescaut (Aubry cunningly adorable), where the former quickly falls in love with the latter and finds himself spun into a vortex of mistrust and misjudgements, becoming more compulsive and foolish by the day. The pursuit of a dream life by both Robert and Manon, runs concurrently with that of the Jewish people attempting to reach Israel, it is here where Clouzot is building towards a quite outstanding last quarter of film.
As the pic pulses away with film noir character beats, these are matched by the visual astuteness of the director and his cinematographer, who use high contrasts and canted angles for narrative embracement. A number of striking sequences grab the attention, be it the portentous meeting of Robert and Manon in the war torn ruins of a church (hello Christ imagery), or a mass trek through the desert beneath ominously low night time clouds, the makers ensure the mood is constantly foreboding.
Superbly performed by the cast, "Manon" is further evidence of what a true great of cinema Clouzot was. 9/10