L'Atalante

April. 24,1934      
Rating:
7.7
Trailer Synopsis Cast

Capricious small-town girl Juliette and barge captain Jean marry after a whirlwind courtship, and she comes to live aboard his boat, L'Atalante. As they make their way down the Seine, Jean grows weary of Juliette's flirtations with his all-male crew, and Juliette longs to escape the monotony of the boat and experience the excitement of a big city. When she steals away to Paris by herself, her husband begins to think their marriage was a mistake.

Michel Simon as  Père Jules
Dita Parlo as  Juliette
Jean Dasté as  Jean
Gilles Margaritis as  Le camelot (the peddler)
Charles Dorat as  Le voleur (uncredited)
Jacques Prévert as  Extra at Station (uncredited)
Pierre Prévert as  Le voyageur pressé (uncredited)
Jacques Brunius as  Un flic à bicyclette (uncredited)
Paul Grimault as  Le chaland qui passe (uncredited)

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Reviews

InformationRap
1934/04/24

This is one of the few movies I've ever seen where the whole audience broke into spontaneous, loud applause a third of the way in.

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Nayan Gough
1934/04/25

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

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Kien Navarro
1934/04/26

Exactly the movie you think it is, but not the movie you want it to be.

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Kaelan Mccaffrey
1934/04/27

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

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chaos-rampant
1934/04/28

Forget that this shows up in magazine polls as among the ten or twenty best ever, that might set it up as something it's not and then we should be able to know for ourselves about the things we watch, develop an eye that effortlessly knows each thing in itself.Concessions about what it's not, I didn't know all this myself, so let me quote some trivia. It was made in less than ideal conditions, by a filmmaker whose health had taken a turn for the worse (the tuberculosis that would claim him soon after), money run out at some point and they had to improvise stretches. The finishing shots were picked up without Vigo and it was probably edited without him. Much like studio abuse heaped on Welles, it opened in truncated form, with another title tacked on by producers, got a lukewarm response and wasn't going to be rediscovered until much later. The restored version comes to us from as late as the 90s; it's moot to say how authorial it is.And then to say that, far from an ideal project for Vigo, something he conceived from the start, it was a script about romance on a barge that came his way after producers had balked on something else he wanted to make, political. I have Vigo in my mind as someone who was fervent, eager to shuffle things and challenge norms, but alas, he would be gone within a year. Had he really been allowed to flourish and we had the luxury of a dozen films to evaluate, we might be looking back at this as something else.We still have all that he captured on his last turn, the lovely journey, and even better so far as knowing him, the vision. The journey has something immensely affirming about it, in how a girl from a small village agrees to marriage with the young captain of a small barge, refusing to settle for the ordinary life; she simply leaps into the boat with one clean swoop and leaves for a journey of horizons. And this is Vigo's own commitment. He enters a story that is not his and sails on a journey of horizons. This is all mirrored in the girl who is so eager to simply take everything in, eager to brush up against everything, fascinated, keen to know. She's a joy to watch.The whole film unfolds as something from her own soul, which is Vigo's. Characters brush up against each other in close quarters. Rooms are always overflowing with stuff, everything feels heaped together. There's a roughneck sailor onboard who has been all over the world, embodying all of Vigo's eagerness to share, now stories about Shanghai, then dance and play the accordion.Zero de Conduite opened with two kids sharing toys with each other on a train, trying to impress and amuse each other. This is about youths sharing themselves with each other on a boat that sails through drab France, trying to find out. There's a lot of hugging and fondling between them with a sense of complete delight at the touch.And this is how Vigo creates. Instead of "scenes" with beginning and end that advance a plot, tentative exploration, our eye rummaging through stuff. It feels like early Cassavetes. He's trying to find out what comes out from hiding.Heartbreak eventually. The boy has grown increasingly controlling, dismayed at her free spiritedness. She wants to see Paris, he won't let her. Watch it to the end, it's lovely. He has dived in the river, looking to see her. She has been wandering alone around Paris. A marvelous scene intercuts between the two alone in separate beds, yearning towards the camera like out of New Wave. So she listens to music that summons up the old storytelling sailor who takes her back to him. God knows what we were deprived of, in my mind even greater works. But I can see why Tarkovsky loved this.

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wandereramor
1934/04/29

L'Atalante is one of those films that doesn't really survive it's critical reputation. It's not so much that it's overrated as that its status as a Cinematic Masterpiece by a French Auteur casts a heavy burden on it which the light, airy film can't escape.But enough meta-criticism. Taken on its own, L'Atalante is a charming film about a honeymoon whose light nature and relaxed pace manages to immerse the audience in a realm of simple pleasure. There's little dialogue, and Vigo draws on the attractions of silent film, with a lot of light humour and simple representational images. It's a world you would want to step into, and one that you almost think you can.Alas, things cannot stay so serene forever, and so trouble eventually arrives in our honeymooners' relationship. The plot is believable and well-observed, if not exactly captivating, but I have to say I missed the more leisurely early parts.I can't help but compare L'Atalante with a film with a similar storyline and inverted structure, F. W. Murnau's Sunrise. L'Atalante undeniably comes off worse in the comparison: it simply doesn't achieve the epic grandeur that Sunrise does. That doesn't mean it's bad, but it seems unavoidably like a prototype for a film released in the previous decade, and that makes it hard to live up to the hype. Still, it's a nice experience, and that's more than you can say about most films.

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nirvano
1934/04/30

Very magical about this film. But one have to be patient because it will not completely manifest itself before the last scene. I literarily got goosebumps and I could feel my heartbeat.I my opinion, the reason so many are disappointed about this is because it's not a page turner. (but neither is Moby Dick or Thus Spake Zarathustra) Seeing old movie for me is much like meditation. What makes this movie great are: the characters and wonderful combination of sound and image, mind blowing at times. My top 10. No doubt about it.

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Jackson Booth-Millard
1934/05/01

I didn't realise that director Jean Vigo only made four films before dying at a young age, this film and Zero for Conduct are the two that appeared in the book 1001 Movies You Must See Before You Die, so naturally I had to watch. Basically the L'Atalante is a canal barge, and the captain Jean (Jean Dasté) has married Juliette (Dita Parlo), despite not meeting much, and after a march they start their trip together. They are travelling between Le Havre and Paris on the barge with a cargo delivery, while on honeymoon, and there are tensions between the hardly used crew members. But the bigger conflict with tempers flaring and things smashed comes when Jean is jealous of Juliette having an affair with first mate and obsessive cat lover Père Jules (Michel Simon). Another argument and scuffle comes while in Paris and a Peddler (Gilles Margaritis) who wants to run off with Jean's wife, but having become tired of barge life she runs off anyway. Jean starts suffering near-catatonic depression having furiously left Juliette behind after casting off, and he tries a few things to try and get over it, but they do not work. Juliette meanwhile has found nothing but despair and crime since going onto the mainland, and it is only after Jean tries to kill himself jumping into the river that they are both reunited, and in the end they are happy once again together. I will be absolutely honest, and say that this explanation for what happens in the film is not something I would have recalled myself. Also starring Louis Lefebvre as Cabin Boy, Fanny Clar as Juliette's Mother, Raphaël Diligent as Raspoutine, Juliette's Father and René Blech as Best Man. I did not understand everything that was going on to be honest, but the relationship between the main characters was good, the realistic documentary style material for life on the barge is alright, and I can see that it did start influence the French New Wave of cinema, from what I did understand it is a most watchable romantic drama. Very good!

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