an ordinary man
by Douglas Messerli
Jacques Viot and Jacques Prévert (screenplay),
Marcel Carné Le Jour se lève (Daybreak) / 1939
Opposed to that world is that of the local bar-performers, the dog-trainer Valentin (Jules Berry) and his assistant Clara (the always watchable Arletty), who live in a world of sexual treachery and deceit. No sooner has François fallen in love with Françoise that he discovers that she is inexplicably involved with Valentin, who Berry plays with the oozing linguistic mastery of the devil incarnate. The very same night that François follows his would-be lover into a bar where Valentin is performing, his assistant Clara determines to abandon the performer and his lies, accidentally drawing François into a bar-room conversation, which brings the two into each other’s arms. Both, although they do not know it yet, will become victims of Valentin’s selfish behavior, François dying, in the end, for being drawn into Valentin’s orbit.
It’s not just that Valentin seduces his women victims, but that he
ultimately tortures them, just, as we are later told, he painfully tortures the
dogs into submission. In what has to be one of the high points in artful lying
in the cinema, Valentin tells François that he is the long-lost father of
Françoise, and that his interest in her is that of a man who perceives himself
as, long ago, having done a wrong, which he now wants to right.
The truth, of course, is nothing like that, but is just a ruse to permit
François to overlook his continued visitations to the young girl, as Valentin
proceeds in his attempts to seduce her. Of course, he ultimately succeeds.
That we discover this story entirely in flashbacks as François has holed up in his roof-top bedroom after shooting Valentin, the murder of whom represents the first scene of the film, makes the events even more compelling. The audience already comprehends François is a dead man, a fact which, despite his newspaper check of the timetables of ships leaving the city, he too perceives, even at the very moment, in a justified fit of temporary madness, which has made him pull the trigger of the gun that Valentin has brought to kill him.
Even with the pleas of François’ women, both Françoise and Clara, taken
up by the neighbors who all recognize him as a good person and an “ordinary
man,” the police will not/cannot let the situation amicably resolve. Because he
is ordinary, François must be destroyed. And it is that subtle class statement
that underlies Prévert’s and Carné’s film and helps to make us care so much for
the accidental murderer. Yet we also recognize that it is a murder that need
not have happened, for despite Valentin’s bluster and his outright admission
that he has seduced François’ future wife, the factory worker was won;
Valentin, despite his taunts and challenges, as he himself admits, is a loser,
for the simple actions and faith of François have helped win Françoise’s love.
Finally, it is only François’ ordinariness, and the male macho that
comes with that, that does him in. As much as we might all wish for the death
of the slimy villain Valentin, it is unjustifiable given the actual
circumstances. And it is François’ “commonness”—what one might describe as the
predictability of his actions—that will not allow his survival. Like the teddy
bear, Boulou, which Françoise gives him early in the film, François is not only
a kind of burly beast who feels trapped, but has only one ear, and, therefore,
is unable to hear that the crowd is shouting for him to come out for a “fair”
trial. Already isolated from the society at large, he can do nothing but
barricade himself in, ultimately sacrificing himself—and with that, his
romantically pure ideals—at the very moment the police lob in a canister of
tear gas to draw him out. The final sound we hear only reasserts the very ordinariness
of his life, as his daily-set alarm clock goes off, calling him into the
daybreak of his endless hard work at the foundry, a job that, because of its
health-hazards, might have led him to an early death in any event.
In short, François, alas, has been doomed from the very start—not just
by the events recounted in the movie, but from the very beginning of his life.
Los Angeles, August 9, 2013
Reprinted from International Cinema Review (August 2013).
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