I like the storyline of this show,it attract me so much

Thanks for the memories!

The film was still a fun one that will make you laugh and have you leaving the theater feeling like you just stole something valuable and got away with it.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

Making my way through the films of Marcel Carné I come at last to this, which, after just watching Les Enfants du Paradis, can't help but feel somewhat lesser, and indeed the film does feel like less than the sum of its parts. There's some wonderful stretches but for it to work it needed to pull all of the strands of story together in a satisfying way by the end, and it doesn't, it just misses the mark. The pacing also drags in parts, particularly towards the end.As often with foreign language films from the past, the English subtitles are poorly translated and unclear, making the point and subtext of certain passages hard to follow.The fabric of the film is glorious, though, with a magical mood and ravishing photography. The premise of fated lovers is very nicely evoked, if not satisfactorily executed. Still very worth checking out though.

We are in Paris. It is 1945 and Paris was already liberated, but the war still rages on. We are given a view of the city as the scene changes to a metro car where Jean Diego, a young man is riding. A poorly dressed man, opposite him keeps staring at him. As he comes over, he asks whether he is getting off at the next stop. Both exit the train, but Jean loses the bum like man. Jean is on his way to visit Claire Lecuyer, a woman whose husband Raymond, Jean believes, was killed in the conflict. To his amazement, Claire sets things straight, telling the visitor her husband Raymond is much alive, and well. A bit later, Raymond Lecuyer comes home. He is now working for the railroad, bearing in his hands the scars of the torture Raymond endured.The occasion calls for a celebration. Jean Diego takes the family to a local bistro. The man from the metro comes in wanting to play his harmonica. As Jean looks out the window, he watches a gorgeous woman outside, sitting in a car smoking. Jean is instantly smitten by the lady's beauty. She is Malou, a singer that has traveled, like Jean, all over the world. Malou, now married to a horrible man, is a local girl from the neighborhood.Malou has come to see her older father. They have been distant. Her brother Guy is a low life who ratted on people to the German invaders. He must flee. Things get complicated when Jean and Malou meet in the warehouse of her father. It is instant love for them. The lovers are doomed because Guy gets in the way. A wonderful film by Marcel Carne from 1946. Another contribution between the director and Jacques Prevert which evidently was lost for quite some time, but new audiences are receptive to Mr. Carne's films again. This is a fine example of an ambitious project which had romance mixed in with fatality. The poor man hints at what is coming, although most prefer to ignore the fate he heralds.A young Yves Montand has a good opportunity to shine in the film. He gives an honest portrayal of a decent man that gets tangled in things beyond his control. The gorgeous Nathalie Nattier makes a mysterious Malou. Jean Vilar appears as the poor man that stands for the destiny. Serge Reggiani plays Malou's brother, Guy. A young Dany Robin appears briefly.

There's more than one reason to be utterly disappointed by this movie teaming Carné & Prévert & Trauner & Kosma again so soon after Les Enfants du Paradis.Where to begin to describe this failure to follow up with the previous year's masterpiece? The characters are all wooden and no one has a story that gets the movie started. The best in my opinion is the character played by Serge Reggiani, the worst is the one played by Nathalie Nattier whose acting is horrendous. Anyway the love story between her character and Montand's is melodramatic in the worst sense. Montand is OK though but eventually he is as much at a loss as we are, trying to get through the story. As for the other characters they are quite colorful thus they get too much exposition which proves detrimental to the building up of a core narrative.Sad misfire... how could they go so far downhill? I suppose it's the classic spell of bad ideas piling up to give a very bad result. A character embodying Destiny? OK that's poetic but the rest of the story unfolds in a very serious background: post-Liberation Paris with patriots and traitors casually living side by side. Some aspects are poetic, others just dead serious and the love story in between is simply stuck in a no-man's-land, non-existent. Very sad to say with the benefit of hindsight that they fumbled everything as if they didn't know how to tell a story: a love story lost in a deck of vignettes of varying interest.Well, I'd rather think of what they could have done with the Montand character investigating in the underworld to find his fiancée or maybe escaping his fate, in line with Gabin's character in Quai des brumes. Or if they had made a dark comedy like Drôle de drame with people reuniting after the war, trying to know what each other did under German rule in order to find an upright (and innocent) new family leader to eventually hide their consciences (and ill-acquired fortunes) behind him.

"Les portes de la nuit" is an important movie ,weren't it only because it's Carné's last genuine unquestionable classic ,the last link on the chain which began with "Jenny" in 1936.All these works but one ("hotel du Nord, classic too anyway)" were written by Jacques Prevert :"drole de drame" "quai des brumes ""le jour se leve" "les visiteurs du soir " and the grandiose "les enfants du paradis" which currently makes the IMDb top 250 where it should be ,as it is in France, well ahead of "Leon" "Amelie" or "les quatre cents coups" if there were ,sometimes ,justice in the universe.After "les enfants du paradis" -which was voted best French film of all time in a poll in 1979 -anything would ne a letdown.That's why the movie met mixed(and even chilly) critical reception when it was released.After the coming of the nouvelle vague whose young Turks used to hate "old hat" Carné ,one could have thought that "les portes de la nuit would be relegated to purgatory eternally.But young genrations have discovered it and a lot of people appreciate it now (as the IMDb rating shows).Carne's eternal subject :love ,true love against the b.......s ,is here given just one night;one night to meet the most beautiful woman in the world ,but also one night to meet the war profiteers,the cowards ,the vile fathers,all that war destroyed .Carné's "realisme" is given a rough ride anyway ,for some settings are almost ...surrealist,evoking Greek tragedy .Prevert/Kosma's words to "les feuilles mortes" are wistful and deeply moving ;"la vie sépare ceux qui s'aiment tout doucement sans faire de bruit"(life comes between lovers ,gently,without a sound)"Les portes de la nuit" ,what a wonderful title.the film begins at dusk,in a metro station that was entirely built in the studio.Carne thoroughly dismissed the label "realisme poetique" because none of his film sets was real (the "hotel du nord" ,the chateau in "les visiteurs du soir" ,the boulevard du crime" in "les enfants du paradis,the list is endless).And the movie ends at dawn ,when Paris awakes.Carné would never achieve such a peak again.He made commendable works afterward ("Therese Raquin" "les tricheurs" )but those works do not "add up".Still,he remains through his 1936-1945 heyday,one of the absolute masters of the French cinema.