After committing a murder, a man locks himself in his apartment and recollects the events that led him to the killing.

Director:

Writers:

(original scenario), (dialogue)
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Cast

Complete credited cast:
...
François
...
M. Valentin
...
Clara
Mady Berry ...
La concierge
René Génin ...
Le concierge (as Genin)
Arthur Devère ...
Mr. Gerbois (as Arthur Devere)
René Bergeron ...
Le patron du café (as Bergeron)
...
Gaston
Marcel Pérès ...
Paulo (as Peres)
Germaine Lix ...
La chanteuse
Gabrielle Fontan ...
La vieille dame dans l'escalier
Jacques Baumer ...
Le commissaire
...
Françoise
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Storyline

Francois, a sympathetic factory worker, kills Valentin with a gun. He locked himself in his furnished room and starts remembering how he was led to murder. He met once Francoise, a young fleurist, and they fell in love. But Francoise was gotten round by Valentin, a dog trainer, a machiavellian guy... Written by Yepok

Plot Summary | Add Synopsis


Certificate:

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Details

Country:

Language:

Release Date:

9 August 1939 (Sweden)  »

Also Known As:

Le Jour se Leve  »

Box Office

Opening Weekend:

$6,982 (USA) (21 November 2014)

Gross:

$34,570 (USA) (9 January 2015)
 »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

| (Janus print)

Sound Mix:

(Western Electric Wide Range Sound System)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

Jean Gabin's monologue to the crowd towards the end of the movie is rightfully famous. He delivered it so intensely that just afterwards he cried his eyes out in his dressing room (source: different crew members). See more »

Quotes

M. Valentin: You're the type women fall in love with . . . I'm the type that interests them.
See more »

Connections

Referenced in Un compositeur pour le cinéma: Maurice Jaubert (1985) See more »

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User Reviews

 
Faded, inadequate, heartbreaking.
27 October 1999 | by (Dublin, Ireland) – See all my reviews

Carne's murder romance seems a little dated now, its rigid structure and frail artifice too polite for the hysteria necessary for film noir. Carne's tendency to reduce to types is at its most stilted here, leaving one with little room to breathe. There is still much that is majestic and dreamlike

  • the extraordinary sets, their imposing facades as repressive to Francois


as the human world he can't understand; Carne's elegant way with composition and camera movement, especially when he allows himself to see people, not allegories; the unparalleled acting, emotion from another age, yet yearningly, recognisably human.


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