BUMP!
I found this interesting thread at the tail end of the catalog and decided to watch The Lower Depths. It's kind of stupid to respond to an ancient thread where everyone is gone, and most of the thread isn't even about the film in question, but I'm doing it anyway.
Renoir is fine although not one of my favorites. I haven't cared to explore his deep cuts. I doubt I'd ever watch this film if it weren't mentioned here. I liked doing a "forced exposure" viewing for the first time in a while.
The story dragged for me at first. I thought the contrast of the noble bum vs. the bum noble would dominate the film, but soon it gave way to the domestic drama. At that point the drama became more engaging imo.
>>1250
>Baron steals from casinos
I don't think the baron was a thief because he only lost money
Gabin and Jouvet are awfully friendly and affectionate with each other. I assume modern critics, looking to say something, would say theirs is some kind of gay relationship.
There's an Otto Preminger shot in this film - zoom on a room's window, several hours pass, zoom out to show the same room. Renoir used a cut for the time change where Preminger usually did it smoothly, one fluid take. This must be one of the earliest examples of that idea in a film. Preminger used it frequently.
I saw Renoir stylistic signatures - in particular the use of multiple layers of activity on the screen. There were many examples in the second half where characters would talk on a balcony overlooking people walking in the courtyard.
It seemed odd that the characters were dressed completely in black for the happy ending. You'd think that was foreshadowing doom.
I'm surprised that no one mentioned there's a later version of thisPost too long. Click here to view the full text.
