Word: gare
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...casual Parisian passerby, the contraptions look like smokestacks or versions of Colonnes Morris, pillars handy for posting theatrical notices. Actually, the two 16.5-ft.-tall towers just erected in the Gare de Lyon section of Paris are huge, electrically driven vacuum cleaners designed to suck in dust, filter it and blow clean air out the top. "Clear the air! Wash the wind! Clean the sky!" as T.S. Eliot put it. If tests made of the surrounding air show that the towers really work, 50 to 100 more may be set up around the city. But that would require more electricity...
...remembered as the original of that perennial threat to shaky governments, "the man on horseback." Adoring crowds threw themselves on the tracks at the Gare de Lyon to keep him from leaving Paris. Three hundred songs were written about him, and copies by the thousands were hawked in the streets. Fast-selling lines of dishes, pens and bric-a-brac carried his portrait to the consuming public. On Bastille Day 1886, when he rode down the Champs-Elysées on his great black horse, all France lay at his feet. Indeed, on three occasions General Georges Ernest Jean Marie...
Ermacora was less stingy with acquaintances or even strangers. A blind man in the Gare St. Lazare came in for a $10,000 windfall. A prostitute received $30,000 to buy an apartment for herself and her daughter. A tailor got an order for 25 suits, all picked up by men other than Ermacora; most found big-denomination bank notes tucked into the pockets. In all, his munificence came close...
...Christmas Tree begins, dozens of eager French schoolboys disembark at the Gare du Nord for a ten week summer holiday. One little mop haired cherub named Pascal (Brook Fuller) rushes into the arms of Papa (William Holden) and Papa's fiancee (Virna Lisi). All the kids are happy. All the parents are happy. Even the conductors and porters seem happy. It can never last...
...Polanski of Repulsion) is a master at forcing an audience to change their sympathies. Fantastically aware of the possibilities of a frame, Rouch can totally confuse a complacent viewer by having an actress turn her body about thirty degrees and in so doing undermine her earlier sympathetic position. In "Gare du Nord" these abrupt shifts of sympathy are used to tell the story of trapped people. (Obviously, American romantics who think of Paris as a city of escape and freedom will find no support in this film.) We first see a wife arguing with her husband, both of them trapped...