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 ?
While French cinema is represented by a solid raft of films by Marcel Carne, the master of "poetic realism," American cinema gets the spotlight in the fest's Universal Monsters, a mini-run of creature features, among them the original 1931 "Dracula" and "Frankenstein" films.
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.
Documentaries by Georges Lacombe, Boris Kaufman, Andre Sauvage, and Marcel Carne completed between 1928 and 1930 broke with newsreel, travelogue, and scientific-educational modes of nonfiction film.
Para eso creo en 1967 el grupo teatral Tenjo Sajiki (Los ninos del paraiso: titulo de la pelicula de Marcel Carne de 1945), que revoluciono la escena japonesa y coincidio con la vanguardia mundial extrema del momento, casi toda inspirada por Artaud: Grotowski, Kantor, Peter Brook, Albee; el Grupo Panico y The Living Theatre.
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.
Weitzmann and I were having lunch near his apartment, at the Hotel du Nord, a quiet restaurant on the site of the 1938 Marcel Carne movie of the same name.
Finally, on June 17, comes The Devil's Envoys, directed by Marcel Carne and written by poet J.
* En 1940, cuando Mussolini declaro la guerra a Francia e Inglaterra, Fellini descubrio la literatura de Kafka, John Steinbeck, Gogol y William Faulkner, asi como el cine frances de Marcel Carne, Rene Clair y Julien Duvivier.
Although films by Marcel Carne, novels by Jean-Paul Sartre, and newspaper sources are used to reconstruct the mood of the period, France in 1938 is mostly based on secondary materials.
Chapter eight turns its spotlight on representations of the poor to feature the interweaving of Eugene Dabit's 1929 novel, L'Hotel du Nord, its film adaptation by Marcel Carne, and photographs by Andre Kertesz.
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. Yet, as MacCabe notes, it was also a response to the larger questions of the artist's relationship to mass culture.