The Children of Paradise, Redux

I originally reviewed this film some 27 years ago in the Mensa Classic Films issue number 9, July 1982. I intend to re-visit that review but also to provide some additional commentary as related to my recent viewing on the tube. As originally released the film covered just 120 minutes. This is the version I originally saw as a college student in Los Angeles in the late 40's. At the time the time the film was shot it extended over three hours. This caused complications since it was filmed during the Nazi occupation of France during the early 1940's. The German occupiers had a limit of 90 minutes for each individual film. I don't know the purpose of this limitation, but like many things I'm not sure the Nazis knew as well, however, being oriented towards discipline, they enforced this ruling.

The film when finally released to it's original specifications covered 186 minutes. The version I received from the LA County Library was of that length. To many years have passed by since my original viewing for me to note what was missing from my first viewing. I do know of just one tiny cut which I'll cover later.

Through all these years it has remained my all time favorite foreign language film. Les Enfants du Paradis or The Children of Paradise is recognized as the all time most important work by producer Marcel Carne. It is a story in the grand style. Stories within stories, drama within drama and ultimately an examination of a broad range of humanity from the aristocracy to the very dregs of society. It is not just a history in the grand style it is many different things at once, actually fictionalized history in an epic style. It is a filmic discussion of the inner complexities of men and women, a history or fictionalized history, but most of all it is a story of love, both
physical and emotional in all it's complexities.

Today I see that reference to love as perhaps not in keeping with today's focus on sex and love. Love is an emotional experience devoted to a feeling that it is next to impossible to live without the person you believe you love. Sex on the other hand, is a physical process that may involve love though love is not necessary in the desire for or expressing or satisfying sexual desire. As we well know today, marriage and the joining of two people is not really a product of love but rather a contract between two people that calls for observing certain rules of behavior. These are most pertinent in the laws relative to property rights, inheritance and the various products making up a persons wealth. It is nice when romance and true love are a part of the union of two people but in most cases in most societies marriage is a contractual agreement between a father and a man wanting a wife. In other words the wife is a piece of property

This fact is born out in The children of Paradise in that only two people truly love, Garrance (Arletty's role) and Baptiste played by Jean Louis Barrault. For them love is the ingredient, but despite this they are deprived of the ability to be together. Their relationship results in only one sexual occurrence. Then the mysterious Garrance disappears from Baptiste life in the swirling madness of celebrants on the Rue de la Crime.

Garrance has three other lovers who have a continuing influence on her life. These are identified in the first half of the dual film. They include a ham actor, Frederick, a petty criminal Lacenaire, and ultimately a titled Count de Montray. Each of these wants to possess her for sexual reasons though with different emphasis. Frederick, because he is a world class romancer, Lacenaire who essentially desires her but won't compromise his own independence to have her, and Montray, who really wants her as a sop to his personal image of possessing a woman of enigmatic beauty that is owned by no one else.

The first segment of the movie involves introducing the principal performers and establishing their relationships. It also includes extensive mime performances that are fully indicative of Barrault's learning the art Mime from Marcel Marceau, France's premier pantomimemist. Garrance is introduced as a minor entertainer, sitting in a tank full of water looking at herself in a mirror while her audience pays to come in an observe her, supposedly expecting something more. Lacenaire is identified as a petty criminal, buying and selling stolen goods. And, we first see Montray when he observes and desires Garrance after seeing her play a statue in one of the Mime productions. All in all it is the Mime segments that are the most interesting in this egment of the overall film.

Section two is far more interesting in that it begins several years later when at this time we find the Baptiste is the talk of Paris because of Miming skills. Frederick has now advanced to an acting principal appearing in a production of Shakespeare's Othello at Paris's principle theatre. Lacenaire is still a criminal, but he has advanced upward. And Arletty, having been observed by the Count has become his mistress and resides at his palatial residence.

In this second segment Arletty is introduced to us as a mysterious beautifully dressed lady wearing a veil and appearing in a box at one of Baptiste's performances. We learn she is a regular attendee at his performances, always coming alone and veiled. Eventually all the players come together. Most importantly Baptiste and Garrance renew their friendship, but more importantly return to the room they occupied the night that Baptiste fled from her in innocent confusion. The single missing scene was her exposing her breasts to him in the initial failed liaison. But now in this renewal their long love is finally consummated.

Frederick has managed to bring them together and confronted the Count who insults him and issues a challenge. Lacenaire has participated in this charade and insults the Count as well. The film ends with Garrance leaving Baptiste, and he following desperately trying to find her in a massive crowd of celebrants on the Rue de la Crime.