Mary Poppins Returns
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All Critics (15)
| Top Critics (4)
| Fresh (14)
| Rotten (1)
| DVD (3)
The film has marvellous atmosphere and a fine cast, but the material, which involves brutal, uncontrollable passion seen in a social framework, turns oppressive, and at times Gabin is a lump.
It is simply a story; a macabre, grim and oddly-fascinating story.
Superb performances from Gabin, Simon and Ledoux as the classic tragic love triangle.
Jean Renoir's generous sensibility seems at odds with the sterile determinism of the Zola novel on which this 1938 film was based.
Gabin gives an impeccable performance.
Renoir returns to the réelle du train with little comfort for his 'human beast.'
Features one of Jean Gabin's greatest performances -- one with even more force than the locomotive he powers.
La bête humaine may show Renoir at his darkest, but as always Renoir in his observantly caustic mode can't bring himself to not splash highlighting colors onto his preeminently human canvas.
[Renoir's] expertise behind the camera--and his driving curiosity for human constructs and human nature...elevate La bete humaine to an unforgettable filmic experience.
The central performances in this tragic love triangle are brilliant and utterly convincing.
... it's the hot visuals that make the film so explosive.
Based on the Emile Zola novel of the same name, you of course expect this film to channel the darker sides of man, and show his animal nature. The beginning sequence on the train is brilliant, with the awesome power, noise, and smoke really setting the tone. Unfortunately the rest of the film didn't live up to this beginning. There are issues that stem back to Zola himself, whose theories about the blood line of a family being poisoned by its ancestors were pseudo-scientific at best. The result is that it's hard to believe the violence that at times suddenly possesses the character of Lantier (Jean Gabin). Simone Simon is a treat to watch and suitably underhanded in her dealings with men, but there is something too cool - too lacking in real passion - about the movie as a whole. The two male performances - Gabin's and that of Fernand Ledoux, Simon's jealous husband - are flat. Zola believed that "love and death, possessing and killing, are the dark foundations of the human soul", and while all of these things are represented by director Jean Renoir, they don't always feel authentic.
Also, I don't mean to go off on a "the book was better than the movie" rant, particularly as the novel itself wasn't Zola's best work, but I would point out that one of the more memorable parts in it was the slow poisoning taking place in a house near a train crossing, and this was a story line that was one of those excised by Renoir. He is also sloppy about other parts of the novel, and when I read later that his screenplay was rushed and that when he started filming he hadn't read the novel in 25 years, I wasn't surprised. It's not horrible by any means, and in some of the train imagery you can see Renoir's influence on films like 1985's "Runaway Train" with Jon Voigt, but it fails to live up to its potential.
Lovely Simone Simon (see Cat People) is a deadly seductress scheming her way from relationship to relationship. An accomplice to murder, she watches as husband kills lover. Feeling trapped, she takes a new lover, Jacques Lantier (Jean Gabin), and suggests that he kill the husband. A vicious cycle that could continue to perpetuate itself, but good ole' Jacques has a few demons of his own.
La Bête humaine is a cinematic perfect storm. All the elements (Gabin, Simon, Renoir, Zola) come together to create a masterpiece of romance, tragedy and betrayal.
I dunno about this one. It had its moments of suspense, romance, etc. The scenes on the train and in the trainyard looked great. I've liked Jean Gabin in everything I've seen him in, and he doesn't disappoint here as Lantier. But forgive me, fans of her beauty (and she IS indeed beautiful), but Simone Simon's screen persona of spoiled pouting child gets old with me really quickly. It worked in Cat People, but here it's just annoying. The substory of the mysterious syndrome that turns Lantier into a murderous psychopath at the drop of a hat seemed very "deux ex machina" to me, kinda lame and gimmicky.The ending would have been more meaningful without it. I felt like this when I saw Le Bete Humaine the first time years ago, and my 2nd veiwing didn't change anything. Basically, a little overrated.
a french renoir classic adapted from the realism mater emile zola's "the human beast"....zola's been noted for his naturalistic and experiemental descriptions of rotten audacity hidden among society in a more objectively severe method instead of vulgar sensationalism....the film version somehow de-sexualizes the original and dignified with a more moral ending as the revival of character conscience brightened by jean gabin's decent mensch image. atagonist jacques has an inherited hatred toward women, struggling to distract his focus from strangling any woman in touch with him to death that only implies a bit in the first 20 mins of the flick. and the film centers more on jacques' guilty consciousness of being descended into a married woman's connived accomplice of murderous crime and his innocent resistance to his mistress's seduction into commiting the actual ruthless murder on her decadent gambling husband. eventually he surrenders to her ingenune-alike femme fatale charisma but what fate and his corrupted blood would repel against his wish to reunite his happiness with her??
in zola's original, jacques is more of lusicous slave empowered by beguiling female allure...also a striking creature in zola's endorsed description...and the cuckolding wife is a lecherous calculated woman who seeks every chance to have affairs....they are both beast-alike and enslaves by their own greed and lust. and adulteris are permeating in the novel...jacques even sleeps with his coleague's wife to testify the syptoms of his peculiarly pathological sexual illness that leads into the catastrophe of a whole trainwreck in the end. the end is a social metaphor commenting that all these beastly scum-men and other bystanding hypocrites should purgated by blood and sentenced to the ruin as serving justice.
but renoir's movie interpretation is rather an individual tradegy, a self-destruction as redemption sort of thing than zola's strictly dissected social criticism tainted with un-forgiving cynicism.
personally i highly recommend zola's novels...he writes those deceased society tales with bluntly sharp perspects without abusive profanity.... english or american literature usually preserve the salving mercy or moralistic lecturing in the very end, even cynicist maugham would assign some saving grace of warming female companionship for his limp protagonist as closure.
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