Customer Reviews

L'ATALANTE (ALL REGION) (FRENCH AUDIO) (NO ENGLISH SUBTITLES)

5 star:		(23)
4 star:		(6)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Earlier reviewers have complained about this DVD's quality, and I want to clear up the confusion. The way that New Yorker Films (not connected to The New Yorker magazine) has packaged this DVD is outstanding. They've specialized in more recent (i.e., post-1970) foreign films, so if this is what they can do with older films, I'd love to see them work on others. It's not quite Criterion-level quality, but considering the challenges, it's as impressive as many of Criterion's major accomplishments.

For a movie that was all but lost to us, they've has done wonders with the restoration. The aspect ratio is accurate, contrary to what one reviewer says below. Since L'Atalante was made before 1953, it CAN'T be shown in letterbox! Unfortunately, there's slight cropping at the left and top throughout the film, and it's especially notable during the opening titles. French directors of the 1930s regularly had their action overflow the frame, so it's difficult to say how much this cropping affects the rest of the film. There's also slight debris on the print, but that's unavoidable for a film of this age and history. There is also some confusion on the film's running time. The advertised 89 minutes only applies to VHS tapes. The actually film runs about 85 minutes, including the opening and closing titles. However, critics believe that this version (based on an early 1934 print and supplemented with better-quality outtakes) is as close to Vigo's intended vision as we'll ever get. He died before he could oversee a "final cut."

The extras are slim, but worthwhile. There's a filmography for Vigo and 2 galleries (one of posters and one of stills and behind-the-scene photos). Best of all is a short documentary about L'Atalante. It's called "The Making of..." but it's more of an appreciation than a history. It's a nice addition, but should be watched AFTER you see the movie. I'd have liked more detail on the restoration process, but what's here is fine.

If you like French films of the '30s (especially those of Renoir and Carne), then this DVD is a must-own. Anyone else who considers him/herself a student of cinema needs at least to rent it. Either way, rest assured that this is a fine transfer. My only reservation concerns the very slight cropping of the frame.

EDIT: Since I reviewed this DVD, Artificial Eye (a British video company) has released an excellent two-disc set called The Complete Jean Vigo, which includes this film and Vigo's four short films (including the amazing "Zero for Conduct"). Featuring 3 hours of extra content, it's well worth looking into if you have multiregional capability. The Complete Jean Vigo is only available in region 2 format.

Most of the well written reviews here talk knowledgeably about film matters about which I know nothing. What I do know is that this film is simply one of the most achingly beautiful, romantic movies I have ever seen. My husband and I first saw it 30 years ago, when we were dating. The quality was bad, obviously prerestoration, but we still just fell in love with the movie. There is a scene (and the other reviewers have spelled out the basic plot: village girl marries barge captain, they argue, separate, meet again) where the young man, missing his wife, swims under water and sees a fantasy of her -- well, that was so touching. And, yes, the scene where the couple thinks of one another is one of the most magical, love filled scenes in movie history. I have to comment, too, on the lovely quality of light in this film. [One odd point, has anyone else noticed how much the vaudeville entertainer, who flirts with Juliette, looks like Jim Carrey? We thought it just spooky since the movie was made 70 years ago!] So, this is a great valentine's day movie, for romance, or any day movie if you just love really welldone movies. We recently purchased the restored copy on DVD and were very pleased. The only thing I can think would improve it would be more extras.

In 1934, Jean Vigo came as close to actually creating a cinematic poem as anyone before or since. Jean Vigo was one of cinema's greatest tragedies, a boundless original talent that was just springing and had much more to offer. Who knows how many more masterpieces he would have filmed? In 1933 he made the imaginatively surreal `Zero for Conduct' and caused a lot of controversy and even caused it to be banned in some countries. But the film that followed; L'Atalante, would be his crowning masterpiece, a hauntingly beautiful and poetic film. Vigo tragically died of septicemia at 29 but not before leaving us this beautiful dream-like masterpiece. One of the screen's greatest romances and probably the best and most understanding film ever made about young love. Boris Kaufman's evocative cinematography captures some of the most hauntingly beautiful images ever filmed. Some of the scenes linger in the mind for quite a long time after the first viewing. The scene when the two young lovers are making imaginary love in separate locations and the sequence when Jean Dasté dives into the water to try and picture his beloved's face are intoxicatingly beautiful and unforgettable. Even the performances are timeless. Jean Dasté, who also starred in Vigo's `Zero for Conduct' is unforgettable as the young captain of L'Atalante who is hopelessly in love with Dita Parlo. Parlo delivers a truly timeless performance, she would star in Renoir's `Grand Illusion' just four years later. But it is Michel Simon's legendary performance as Jules that is truly unforgettable. Simply one of the most beautiful and deeply poetic films ever made and it still feels passionate and moving. From a scale of 1-10 I give this film a 10!

The restoration and theatrical re-release of L'Atalante a decade ago was nothing less than a cinematic event. The movie had been edited to shreds shortly after it's doomed director, Jean Vigo, had presented his original work to an apparently incenced Parisian audience. Just as with Rites of Spring, the Golden Age and Coltrane/Dolphy, the emnity that the work generated from the French audience was strong evidence to the quality and importance of this brilliant piece of avant garde.

The movie has been described as a combination of both surrealism and realism, but in truth Vigo's vision is entirely unique, and the style died with him. The emotional mood is practically labile and often ironic, such as the funeral-like reactions of onlookers to the wedding of the young couple, that opens the story. There are gentley jarring moments scattered about; the images of the later estranged lovers, shots of the two hugging themselves, imagining the other, combined to present a haunting view of romance defies description (obviously) and are unforgettable.

More captivating than the two young leads is Michedl Simon as the first mate. His comedy touches can only be called sublime. The scene when the bride comes to visit his cabin and witness all his wondrous bounty of mechanical diversion is truely one of film's great gems.

The (restored) VHS version of this has remained prohibitively priced. There is no more important film that has waited for it's DVD release. If you haven't had the chance to see it yet, you're in luck.

Juliette, a woman in small-town France marries Jean, a barge captain. Within minutes, the newlywed couple start their life together on the barge L'Atlante, where the characters develop and the plot forms. Among the characters is Papa Jules, who is a charming, tattooed old roughneck with an affinity for cats (which are everywhere) who shares stories and tricks with Juliette, and earns the scorn of the jealous and uptight Jean. Docking in Paris, Juliette (played by Dita Parlo, one of the most adorable women ever to grace celluloid), a naieve country girl, is seduced by the culture and charm of the city, and her husband, an uptight bundle of insecurity, just cannot deal with her innocent flirtations. He abandons her, and the emotions start pouring out. The rest cannot be explained in words, you'll just have to see how it works out, as the narrative of the film is incredibly visual.

The cinematography is among the best you'll ever see in your life. Also contains one of the most erotic scenes ever put to film, though no sex is featured. May move you to tears. Essential viewing for film lovers.

Finally saw Vigo's L'Atalante, his only feature film, which he reportedly died before completing, and instantly its one of my top favourite movies and easily one of the best pictures ever made. L'Atalante has everything going for it: its sexy, romantic and incredibly funny. Its also immensely genuine - the performances are so good, you are completely drawn into the action. Which is not to say that L'Atalante isn't imbued with the sense of fun and visual fantasy which makes Vigo's Zero de Conduite so great, in fact, its much more developed here. Vigo gets to tell a complete story in L'Atalante, the only complete story he ever told, and it is wonderful. Aside from its great story and vivid, unique characters, the most remarkable thing about L'Atalante is the masterful way it is directed. Vigo had such an eye for what was cinematic - so much of his stuff is communicated through images, yet when he uses words he uses them well (and for comic purposes here). L'Atalante is simply a beautiful film to look at. It has so many beautifully filmed sequences and images (some favourites: the grammophone music scene, the street seller's scene, the swimming underwater scene, the drunk scene). Surely one of the best shot films ever. Watch where Vigo places his camera, and the multitude of exciting compositions here. L'Atalante is a movie buff's dream come true. I'm so glad i found it, and am eternally grateful to the art gallery for giving me the opportunity to see it. The audience i saw it with had a rollicking good time - we enjoyed it immensely. If you ever see it playing at a revival house, or at an art gallery, i thoroughly recommend you go there and discover Jean Vigo.

A perfect 10/10 - the only one i've ever given.

This is a beautiful film in which the story itself is less important than the way that story is told. Juliette (Dita Parlo), a young woman who has spent all of her life in her native village, marries Jean (Jean Daste), the captain of a river barge. Immediately after their wedding in the village, the two of them set off on the barge. Their only companions are the veteran sailor Pere (Papa) Jules (Michel Simon) and his young assistant (Louis Lefebvre). Bored with the solitary life aboard the barge, Juliette strikes out on her own in Paris - with unfortunate consequences.

The film is told from one beautifully photographed sequence to another. Notable among them are a view of Juliette, dressed totally in white, walking like a ghost along the length of the dark barge in the dark river; Juliette discovering the marvelous toys and other items that Pere Jules has collected through his years as a sailor; and a romantic interlude in which Jean and Juliette, spending the night apart, dream that they are together.

One of the themes of the film is that of jealousy and possession. I've watched a number of fairly recent French films lately and a frequent theme has been a man (and in one case, a woman) going crazy when his woman displays even a small sign of independence. It's interesting to see that this theme was present back in 1934. In this case, though, love ultimately prevails.

Dita Parlo is wonderful as Juliette - I loved the look on her face when she discovers a preserved human hand in a jar in Jules' cabinet - and Michel Simon is superb as the crotchety but ultimately likeable Jules. The other performers do fine, as well - not just those on the barge, but also Gilles Margaritis as a street hawker who plays an important role in the drama.

The quality of the picture varies from sharp to somewhat soft, but that's to be expected from a cut that's claimed to be the most complete possible and coming from different sources. The disc includes an enlightening 20 minute documentary by two film historians (one of them refers to the scenes as a series of tone poems); a filmography of director Jean Vigo; and still photo and poster galleries, the latter notable for their beautiful art deco color and design.

All in all, a wonderful film.

"L'Atalante" directed by Jean Vigo was made post-silent era, 1933. But it retains the photo story telling of cameraman, B. Kaufman ("On the Waterfront"). The lighting,overlaps, and F-stop tricks give this comedy of young love a romantic shimmer. Juliette (Dita Parlo, we see her again in Renior's "Grand Illusion") is a small town girl that falls for the boat Captain of a Seine River barge, Jean (Jean Daste). Michel Simon is the jester 1st Mate, a man who has lived life in a circus quirky way. Alas, young Juliette finds life on the boat as small as her village, so when they arrive in Paris, a series of events separate the lovers. The dialogue is not important, so the cinematography carries the story. The river and boat are dirty and worn, the rough industrial areas of Paris are ugly, and the unemployed rabbles of Paris are terrible. Dismissed as a trifling comedy when it first came out, by 1952, the New French Wave recognized Vigo's film as a masterpiece and a great inspiration. "L'Atalante" is now ranked in the top five best films ever made.

It seems to me intolerable that such an ancient film such as L'Atalante (misspelled on the video case as "L'Atlante") should even be released without the slightest attempt at a more meticulous restoration, given that it happens to be Jean Vigo's only feature-length film. Elie Faure praised it, but it was received so poorly by French audiences that it was severely cut. Boris Kaufman's splendid cinematography was quite accomplished for its time. "For its time," I'm afraid is an appellation that might scare less imaginative viewers away. How about "For All Time?" James Agee thought the film showed the ravings of a film genius in a constricting straight-jacket (if I may paraphrase) compared with Vigo's earlier and more adventurous Zero for Conduct. But it's great enough for me. And certainly great enough for a better treatment on video/DVD (Criterion, take note).

I waited until I watched this movie a second time before I decided to review it. I had bought the movie because it was listed on "Sight and Sound's" all-time top ten best movie lists. I realized (after watching it the first time) that I had just seen an excellent movie but not one of the greatest movies of all time. I gave it a lot of thought and just let it go. Several years later, I put my movie up for sale on Amazon.com and it went quickly. I decided to watch it one last time before I shipped it off the next day and I enjoyed it again. However, as beautiful a story as it truly is, this is NOT one of the greatest movies of all time.

This is the story of young love (i.e.: innocence). We start with a wedding of barge captain and small-town girl. Everybody follows the couple to the barge expecting a reception of some sort. However, the captain merely signals that it is time to shove off and the wedding guest stand there puzzled with the abrupt end of the celebration. This and many other scenes really do tell an intimate story and it is the sum total of all of these intimate glimpses that have given the movie its' fame. The love story reaches out to us and we smile at times and shudder at other times when the newly weds make the newlywed mistakes. The development of trust and understanding, the assertion of who's boss, the realization that being right is no fun if it means being alone, etc, etc, all come together in a beautiful movie. BUT it's still not one of the greatest movies of all time!!!

My problem was in anticipating something greater than I got. It wasn't the first time nor will it be the last. However, maybe my efforts to tone down the praise will give others a chance to watch it without expectations. I'm sure my review would have been a lot different had I been able to see "L'Atalante" that way.