L'épave

  • André Le Gall Françoise Arnoul
  • 120分钟
  • WillyRozierisnotafilmdirectorthatspringstomindread… WillyRozierisnotafilmdirectorthatspringstomindreadilythesedays,althoughinhistimehedidenjoysomesuccess,turningoutlowgradebutpopularmelodramasforalessdiscerningFrenchfilmaudience.L'Épaveisoneofhisbest-knownfilms,mainlyonaccountofthefactthatitintroducedanactresswhowouldbecomeoneofthedivasof1950sFrenchcinema,FrançoiseArnoul.Arnoulwasjust18whenshetooktheleadinthis,herfirstfilm(shehadappearedbrieflyasanextrainJacquesBecker'sRendez-vousdejuillet).Thepartnotonlyexploitedhermultipletalentsasanactress,singeranddancer,butalsoestablishedherasasexsymbolviaasceneinwhichsheappearstopless.Disprovingtheoldadageaboutlightningstrikingtwiceinthesamespot,RozierwouldalsounleashanothersexbombshellonFrenchcinemaafewyearslater,namelyBrigitteBardotinManina,lafillesansvoile(1952). L'ÉpaveisasinexpertlyrealisedasanyotherfilmthatRozierputhisnametobutitalsohasaprimitivelyricalqualitythatelevatesitabovethedirector'susuallowstandard.It'sapitythatthevisualpoetryoftheimpressiveunderwatersequencesisn'tequallyrepresentedintherestofthefilm,butsomeengagingperformances(Arnoulisstunningthroughout)justaboutmasksthevacuityoftheinsipidplotandRozier'sclumsyattemptstoplaytheauteur.(Thedirectorwasathisbestwhenhestucktoestablishedconventions,aswithhisenjoyableFeydeaufarceMonsieurChasse(1947)andcrimedrama56,ruePigalle(1949)).SomeofRozier'sartisticchoices-notablytheuseofvoiceovernarration-areborderlineweirdandhighlydistracting,buttheseatleasthelptoalleviatethefilm'ssoporificpaceandlackofsubstance.It'sbynomeansWillyRozier'sworstfilm,andFrançoiseArnoul's'wildgamine'presenceendowsitwithacharmthatmakesitworthwatching,butonlyjust.

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