doors and windows
by Douglas Messerli
Jacques Becker and Jacques Companéez
(writers) and Jacques Becker (director) Casque
d’or / 1952
Named for the golden “helmet” of
hair worn by its heroine, Marie (Simone Signoret), Jacques Becker’s Casque d’or is his most likeable and
influential of films, despite critics of the day rejecting it for its emphasis
on atmosphere over psychological realism. The film has many links with Jean
Renoir’s (a director with whom Becker often worked) French Can-Can of 1954 and Jean-Pierre Melville’s Bob le Flambeur of 1956, all three films
leading the way, in some aspects, to the French New Wave.
Yet, while the latter two films seem busily complex in their plots,
structures, and character motivations, Becker’s work seems, on the surface,
quite simple. Its story is so slender it can be summed up in a few sentences.
On a Sunday boating trip a group of Belle Époque gangster’s and their whores
stop by a country inn, where they boisterously drink and dance. The most
beautiful of these women, Marie, however, is not happy with her current beau,
Roland (William Sabatier), with whom she constantly argues. One of the gang
members, Raymond (Raymond Bussières), meets up with an old friend, Georges
Manda (Serge Reggiani), a former gang member but now a simple carpenter—to whom
Marie is immediately sexually drawn—and despite Roland’s anger, Georges and
Marie dance, at the end of which Roland attempts to attack Georges, who quickly
knocks him out. The following day, Marie is missing, and gang members have been
sent out to bring her back. She is apparently staying with one of her women
friends, but soon after visiting the gang leader, Félix Leca—who would also
like to have a relationship with her—she visits the carpenter, where she is
spurned by his bosses’ daughter, whom is obviously attracted to or having an
affair with Georges.
That evening the gang members, along with wealthy Parisians, “slumming”
it, gather at a local café along with their women. Georges suddenly appears,
proposing to fight Roland for Marie’s love. Despite the warnings of Raymond,
the two retreat to the back of the “club” for a knife fight, which ends in
Roland’s death. Although the gang members and their women escape the café, the
police arrive, discovering the corpse and arresting all those still within.
Raymond sends a message for Georges to meet him in the country, but when
Georges does so, it is apparent it was Marie who written to him, and for a few
days the two have a passionate affair at the small cottage run by La mere
d’Eugène (Odette Barencey) before there are tracked down. Meanwhile, the gang
head turns informant to his police detective friend, suggesting that Raymond
has been the murderer. When Raymond is arrested, Georges—out of loyalty to his
beloved friend—returns to Paris, turning himself in. Raymond discovers that he
has been framed by Leca, and is held as an accessory. Georges is carted away to
prison, and in the last scene, as Marie watches from a nearby window, is
guillotined.
Throughout this frail plot, there are few other complications, as the
authors focus on their fairly small cast; and even from the beginning we know,
in the closed and violent world in which they live, the central couple is
doomed. The wonder is that they discover a way to even find a few days of
happiness.
Despite its dark themes, however, and the fact the movie was filmed in
black and white, the work seems, almost, to have been made in color. One might
swear, after seeing this film, that Marie’s hair was indeed blonde, that the
boa she standardly wraps about her neck is a bright color, the country scenes
filled with greens and browns.
This is a world in which even the dancers move in spirals, in dizzying spins, legs and heads in place. Even the joyous boat party of the first scenes is a movement through the horizon. The closest these figures get to heaven is in Marie’s radiant gold hair, but that is just a “helmet.”
The only moment of true verticality in
this film that I can recall is the final downward slide of the guillotine blade
at the very moment where Georges looks up to accept it and the will of God.
In short, although Casque d’or’s plot is so essentialist that it is almost abstract, Becker’s
images reveal to us all the internecine rules, regulations, and limitations of
these gang member’s world, a place, like Sartre’s later play, that has “no
exit” accept in death.
Los Angeles, May 25, 2013
Reprinted from International Cinema Review (May 2013).
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