Marcel Carné

(redirected from Marcel Carne)
Marcel Carné
BirthplaceParis, France

Carné, Marcel


Born Aug. 18, 1909, in Paris. French film director.

Carne has been working in motion pictures since 1928, beginning as an assistant director. He was also a journalist. In 1936 he made his first full-length film, the psychological drama Jenny. His next film was the grotesque satirical comedy The Strange Drama of Dr. Molyneux (1937), depicting the insecurity and instability of modern bourgeois life. He developed the same themes, but in their anxiety-laden and tragic aspects, in the films Port of Shadows (Quai de Brumes; 1938) and Daybreak {Le Jour Se Leve; 1939), which won Carné recognition as a master of poetic realism in the French cinema. The characteristic features of Carné’s artistic technique are a poetic mood (lyrical suburban landscapes), melancholic anxiety, and the theme of man’s fatal predestination to tragic loneliness in a hostile world. Les Visiteurs du Soir, a film made by Carné in 1942 based on a medieval legend, is an allegorical portrayal of the resistance to the violence of the fascist occupation forces. The film Les Enfants du Paradis (1945) draws on the tradition of French romantic art. The film is of a brilliantly spectacular nature and gives full play to the director’s fantasy.

The greatest French movie actors, including J. Gabin, Ar-letty, P. Brasseur, and J.-L. Barrault, have played in Carné’s films. His later films include Juliette, ou la Clef des Songes (1951), Thjrése Raquin (1953; based on a novel by E. Zola), VAir de Paris (1954), Les Tricheurs (1958), Three Weeks in Manhattan (1965), and Murderers in the Name of Order (1971).


Obmanshchiki. In Stsenarii frantsuzskogo kino. Moscow, 1961. (Translated from French.


Leproon, P. Sovremennye frantsuzskie kinorezhissery. Moscow, 1960.
Iurenev, R. “Marsef Karne.” In Frantsuzskoe kinoiskusstvo. Moscow, 1960. (Collection of articles.)
Sokol’skaia, A. MarseV karne. [Leningrad] 1970. (Contains a list of his films, pp. 209–15.)


References in periodicals archive ?
Contractor address : ZAC du Marcreux, 20 rue Marcel Carne
Ayant appris le cinema aupres de grands noms du cinema francais: Marcel Carne, Roger Vadim, Marguerite Duras- Benoit Jacquot se presente comme un heritier de la Nouvelle vague dont il prolonge ce souci majeur de ne pas laisser le cinema s'enfermer dans des schemas definitifs.
5 MARCEL CARNE, LES VIS1TEURS DU SO1R (1942) This Vichy-era film tells the tale of two envoys sent from hell to disrupt a medieval wedding.
Tearing down the barriers between jazz, classical music and pop, Michel Legrand is at home in any musical situation and has worked with the likes of Orson Welles, Marcel Carne, Clint Eastwood, Norman Jewison, Louis Malle, Andrzej Wajda, Richard Lester and Claude Lelouch, to name just a few.
Finally, on June 17, comes The Devil's Envoys, directed by Marcel Carne and written by poet J.
Some of this energy was rooted in the usual youthful desire to tear down the orthodoxies of the previous generation, especially the literary cinema of old stagers like Marcel Carne.
It includes commentary by film scholars Brian Stonehill and Charles Affron, 24-page booklet, including transcribed excerpts from Stonehill's 1990 interview with Marcel Carne, cast biographies, an essay by film historian Peter Cowie, an introduction by director Terry Gilliam and a new English subtitle translation.
The team of Marcel Carne and Jacques Prevert actually attempted to subvert the Nazi regime with such extraordinary allegorical period films as Les Visiteurs du Soir and the famous Children of Paradise, widely considered to be one of the greatest films ever made.
The cynicism of the ex-lovers is countered by the principals in Jennifer Alleyn's anecdote about a brief encounter between a winsome young lady (Sarah-Jeanne Salvy) and a soulful old gentleman (Gabriel Gascon), who comes across as a refugee from an ancient French movie directed by a Marcel Carne wannabe.
Des photos de Robert Doisneau aux films de Marcel Carne ou aux polars de Leo Mallet, une vision en noir et blanc, reverberes et paves luisants sous la pluie, a faconne notre imaginaire, avant de se transformer en cliches de cartes postales.