Word: gabin
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...starring Ida Lupino; Fox Film Noir series; out now The B-movie Bette Davis, Ida Lupino could play waifs or wantons, but she always gave her characters the wit and glamour required to wrestle with their fates. In Moontide (1942), she's the last hope for French icon Jean Gabin; in Road House (1948), she's the torch singer hired by punk Richard Widmark: two solid noirs starring one classy dame...
Grand Illusion Jean Renoir Perhaps the most beloved film on any list of all-time greats, this World War I saga prefigures many a Great Escape prison-camp movie--it pits a German commandant (Erich von Stroheim) against two captured French officers (Pierre Fresnay and Jean Gabin) in a gradually warming debate on the codes of honor and survival. But Renoir the humanist is no sentimentalist, as the film's French title makes clear: La Grande Illusion translates as The Big Illusion. This was the first Criterion DVD release, and the supplements show that the company was on its game...
...practical and phlegmatic man who never raises his voice, even when he?s ordering the death of a traitor to the cause. He began his public life as a wrestler and it has been observed that in his presence he is the logical successor to Jean Gabin, another great screen actor whom the camera never catches acting. He just triumphantly is, a large, taciturn, slightly ponderous man whose compassion is totally implicit, yet somehow palpable - even when he?s overseeing the garroting of an informer. Forced by the Gestapo to play a deadly little game - a group of prisoners...
...Russian play imported to Japan, with its dark humor and dour humanity intact--indeed, italicized? That's what Akira Kurosawa managed in 1957 with his faithful film of Maxim Gorky's claustrophobic epic. The Criterion edition offers a bonus: Jean Renoir's '36 version, with Jean Gabin in the role of the charismatic thief played in the Kurosawa film by Toshiro Mifune. It's a chance to see two movie masters stamp their genius on a superb drama...
...BęTE HUMAINE JEAN RENOIR Many years later, Renoir described this streamlined 1938 version of the Zola novel as a love triangle about a man, a woman and a locomotive. That sells short the sullen passion that binds sooty engineer Jean Gabin to kittenish femme fatale Simone Simon. An implacable film noir before noir was cool, this is atypical but essential Renoir, and a reminder that subtitles are no hindrance when a great director paints in the visual language of film...