IMDb Rating 6.7 10 464


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November 27, 2020


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1011.84 MB
French 2.0
23.976 fps
112 min
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1.83 GB
French 2.0
23.976 fps
112 min
P/S N/A / N/A

Movie Reviews

Reviewed by dbdumonteil 8 / 10 / 10


"Lumière d'Ete " is probably Grémillon's most ambitious work.Made during the Occupation days,many people consider it his best.One should add it's also his less accessible. Although it's a Prévert/Laroche screenplay ,the main influence here is Renoir's .All that concerns Paul Bernard's character and his fete in the castle strongly recalls "La Règle du Jeu" .Probably the center of gravity of the movie ,this memorable sequence of the farandole - while the tragedy is impending- will find an equivalent in Prévert/Carné's ending of "Les Enfants Du Paradis". There are only five characters :three men and two women. Cri-Cri (Madeleine Renaud,Grémillon's favorite actress) ,her lover Patrice and a failed painter (Pierre Brasseur) represent the bourgeois society. Michèle (Madeleine Robinson) and Julien(Georges Marchal) are the working class heroes .The latter thoroughly deserves this name,in every sense of the term. Patrice is a perverse man with a racy -and even criminal- past who does not love Cri-Cri anymore :did he ever love her anyway? or was he just pretending because she knew too many bad things about him?A man of leisure,he invites Roland (the artist) in his castle just because he desires his partner Michele . In direct contrast to that ,we have the working men: they are building a dam and they are useful.And they are here when it comes to lend a helping hand . There's a good use of the "play in the play " trick;During the costume ball,Roland is disguised as Hamlet ,which makes sense.Apart from Shakespeare, Laroche and Prevert hint at French writer Comtesse de Ségur,since Cri-Cri's hotel is called "L'Ange Gardien" (The guardian angel) and one of the guests thinks of dressing up as General Dourakine . For all its qualities,"Lumière d'Eté " is less appealing than "Pattes Blanches" where Paul Bernard plays a squire again : the first third of the 1943 work drags on a bit and may put off some viewers.Nonetheless,it is essential viewing for anyone interested in the French cinema.

Reviewed by leoperu 8 / 10 / 10

Strange, strong piece of art

"Lumiere d'été" comes close to some works of Grémillon's countrymen such as Renoir or Carné, but is peculiar in more than one way - for example in blending Chekhovian romantic-existential ensemble drama with an ode to common man's hard work (yet, to this viewer, in a setting that resembles rather some kind of inferno than a collectivist paradise), and grafting standard trash-romantic happy end for the most improbable couple. Some interesting music/sound escapades are to be appreciated as well as the long thrilling faux-finale (the castle ball followed by the frantic night drive). The only flaw of the Criterion "Eclipse Series 34" package is the lack of bonus features. Never mind - it's the movie that counts.

Reviewed by writers_reign 8 / 10 / 10

Summer Lightning

A cynic with a little culture under his belt may be tempted to dismiss this as Idiot's Delight With Spin but to do so is to reveal a shallowness not lacking in the film. Robert E Sherwood enjoyed a success with his play, Idiot's Delight, the subsequent movie adaptation was ho hum at best and several decades later the Broadway Musical version, Dance A Little Closer, was a disaster. Sherwood focused on a disparate group of people holed up in a mountain inn on the eve of World War II. Jacques Prevert's screenplay focuses on a disparate group of people holed up in a mountain hotel smack dab in the middle (1943) of that same world war yet of hostilities there is nary a mention. This was the third movie in which Gremillon featured his favourite actress Madeleine Renaud and he would do so yet again in La Ciel est a vous - and in passing coax a career-best performance out of Charles Vanel - and it's easy to see why he was so enamoured of her. Virtually forgotten today - much like the other Madeleine (Robinson) in the film - she was among the finest of an exceptionally fine generation of French actresses and she scores heavily here as a discarded mistress running a hotel in a remote mountain region. In a role written for Michele Morgan Madeleine Robinson offers strong support as a young lover, also rejected by Pierre Brasseur's troubled artist, who represents hope for the future in her new romance with a young engineer. All the values are sound, top writer, top director, top actors (Brasseuer, Renaud, Robinson) and make this an unfairly neglected minor masterpiece.

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