31 enero 2018

Jacques Becker - Casque d'or (1952)

Francés | Subs: Castellano/EN/IT/PT (muxed)
98m | x-264 960x720 | 4800 kb/s | 192 kb/s AC3 | 24 fps
3,46 GB
 En un suburbio de París/París, bajos fondos
París, 1900. Marie (Simone Signoret), una bella prostituta de los suburbios parisinos, es novia de Roland Dupuis (William Sabatier), un matón perteneciente a la banda criminal de Félix Leca (Claude Dauphin), quien también la desea. Sin embargo, Marie se enamora de Georges Manda (Serge Reggiani), un humilde carpintero al que conoce durante la celebración de un baile.
 Obra maestra tardía del realismo poético que supone el mejor trabajo del gran realizador francés Jacques Becker junto a Le trou. El título original de la película, Casque d´or, hace referencia a los cabellos dorados que caracterizan a su protagonista femenina, una espléndida Simone Signoret cuya belleza trae de cabeza a los hombres de este trágico relato amoroso ambientado en los tiempos de la Belle Époque. El guión, escrito por el propio Becker en colaboración con Jacques Companeéz, se inspira en hechos y personajes reales (la verdadera Casque d´or se llamaba Amélie Élie y llegó a publicar sus memorias). (Todo el texto en castellano tomado de la excelente crítica que se puede leer íntegramente en el blog Esculpiendo el Tiempo)

BR rip de Cangarea

Jacques Becker lovingly evokes the belle epoque Parisian demimonde in this classic tale of doomed romance. When gangster’s moll Marie (Simone Signoret) falls for reformed criminal Manda (Serge Reggiani), their passion incites an underworld rivalry that leads inexorably to treachery and tragedy. With poignant, nuanced performances and sensuous black-and-white photography, Casque d’or (Golden Marie) is Becker at the height of his cinematic powers—a romantic masterpiece. (Criterion blurb) 
 Along with Touchez pas au grisbi and Le Trou, Casque d’or is now widely recognized as the summit of Jacques Becker’s achievement as a filmmaker, a distillation of everything that’s most personal and central to his vision. All the more surprising, then, to realize that the material came to him fourth-hand, having been successively turned down by Julien Duvivier, Yves Allégret, and Henri-Georges Clouzot—and that when Casque d’or was first released many French critics were unimpressed, finding it a letdown after his previous films. What most disappointed them, it seems, was that Becker—hitherto seen as the chronicler of contemporary French society—had made a period film.
 Yet Becker was determined that Casque d’or should not be, in any conventional sense, a period film. “I wanted my actors to behave as though they were living at the time,” he explained, “not as if they were wearing costumes.” And in that he fully succeeded: His recreation of turn-of-the-century Paris is lovingly detailed and exact, and within it his cast move, speak, and hold themselves as in their native habitat.
 This was Becker’s great gift as a filmmaker: to conceive and re-create a world complete in every scrupulously captured detail. Attuned as he was to connections between the trappings of a way of life and the emotions engendered within it, Becker could fix the sense of a period, of a specific juncture of time and place, with quiet precision. Lindsay Anderson, one of Casque d’or’s earliest champions, noted how here as elsewhere in his work Becker “is fascinated by objects and decors, and the way they can reveal the thoughts, beliefs, and emotions of the men and women who use them.” Every character in the film, no matter how briefly glimpsed, is precisely characterized, giving us the sense that (as Becker himself put it) they all “go on living off-screen, between scenes, even before the film starts.” It’s a world seen whole, neither romanticized nor sensationalized, but presented as a complex, living community in its own right. (quoted from Casque d’or: Tenderness and Violence, by Philip Kemp)

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Jacques Becker en Arsenevich
Le Trou (1960)

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