Les Visiteurs du Soir-1942

The film (aka: The Devil's Envoys)
is unquestionably a masterpiece that came out of France under the most trying conditions. Despite the Nazi Occupation with the restrictions on materials and media we have two films that have achieved high watermark in the history of French cinema. Les vistieurs is one film and Les Enfants du Paradis is another (1945). Both are backward looking in the sense one appears to be a simple romantic fable set in a fairy tale castle with demons, knights and princesses while the 1945 film deals with the theatrical world of a century before. Both came out of the fruitful collaboration between director Marcel Carné and screenwriter Jacques Prévert. The film was hailed as a major cinematographic achievement upon its release in 1942 and remained one of the most popular films made under the Nazi Occupation.
The film begins with the title: in this lovely month of May 1485 Messire Satan on earth sent two of his creatures to despair men ..."
Summary
In the 15th Century, two traveling musicians named Gilles and Dominique arrive at the castle of Baron Hugues, amid celebrations for the impending marriage between Hugues’ daughter Anne and a knight Renaud. The two musicians are in truth emissaries of the Devil, sent to disrupt the wedding for their own amusement. Whilst Dominique seduces Renaud, Gilles makes an easy conquest of Anne. However, Anne’s purity overwhelms Gilles and he in turn falls in love with her. This unexpected turn of events forces the Devil into making a personal appearance...

On the surface, the film appears to be a simple romantic fable but there is clearly more to this film than first meets the eye. Many have seen an allegorical sub-text in this seemingly innocuous romantic fable. The reluctance of the two lovers Gilles and Anne to separate in the second half of the film, despite the best efforts of man and Devil, can be understood as a covert message to the French nation to hold out against the German overlords. Historically we may see the parable as apt. The Third Republic may be an edifice in stone stripped of marble and gold by the fall of France but there shall still beat the Gallic spirit as the pair of lovers in the film.

One feature from the film that stands out even after so many decades is its cinematography. Not content with conventional photographic techniques, Carné developed some new methods for creating just the effect he was after as In Les Enfants. (In the latter Carné was particular of giving the shirt front of the notorious thief and murderer Lacenaire an unnatural luminosity contrasted with Baptiste the man in white.) In Les Visiteurs he makes the dance scene memorable, where the film is slowed to give the impression of time coming to a halt, allowing the two Devil’s emissaries to commence their evil machinations. Later on, a similar trick allows Carné to transport his fated lovers to a dreamlike garden. The arrival of the Devil in the second half of the film is no less impressive, using a combination of noise and lighting to conjure up an instant sense of drama and anticipation.
A combination of an excellent script, creditable acting from Jules Berry and Arletty sets this film apart from many other of the 40s French films. Berry is at his best playing the role of the Devil with a burlesque relish, and with villainous charm.
* Director: Marcel Carné
* Script: Jacques Prévert, Pierre Laroche
* Music: Maurice Thiriet
* Cast: Arletty (Dominique), Marie Déa (Anne), Fernand Ledoux (Le baron Hugues), Alain Cuny (Gilles), Pierre Labry (Le seigneur), Jean d'Yd (Le baladin), Roger Blin (Le montreur de monstres), Gabriel Gabrio (Le bourreau), Marcel Herrand (Le baron Renaud), Jules Berry (Le diable)
* Runtime: 120 min; B&W

benny