Port of Shadows 4K 1938 Ultra HD 2160p

Story Movie

Jean, a colonial soldier, arrives in Le Havre, hoping to board a ship and sail far, far away - for which he has reasons, not precisely stated in the movie. He meets a beautiful girl, Nelly, and love at first sight develops between them. Strong, restrained and a bit taciturn Jean can teach a bully a lesson and behave with the dignity and pride of a Parisian. He is lucky - he receives a gift of civilian clothes and a passport; the ship's doctor offers him a place in his cabin, but the slaps given publicly to a local young bandit caused a sad end to this romantic story.

Review 4K Movie

A film in the spirit of the “lost generation” books, telling the story of France in the 1930s. With the looming shadow of World War II and the echoes of colonial wars, unemployment and crime, this film vividly illustrates the fates of people and the mood of the era. The film was directed by Marcel Carné and is based on the novel by Pierre Dumas.

Soldier Jean (Jean Gabin) hitchhikes to Le Havre, from where he plans to sail away from France on the next ship. The film has no backstory, but over time it becomes clear that Jean is a deserter. He seems to have no past, no future, and empty pockets. Jean is so lonely that he is happy to have a stray dog, as rejected as he is. Gabin's character is rude and uncouth, but honest and decent at the same time. He is tired of war and service - a spiritual escapist flees into the unknown in search of a better life, or perhaps simply peace. An altruist by nature, he is happy to help those in need, even though he is not particularly polite or friendly. But if Jean sees someone as slippery and dishonest, the conversation with such a person is extremely short for a seasoned soldier. There is something of Remarque in this character, and something of Hugo (it is no coincidence that Gabin later played the role of Jean Valjean) — he could have been someone else in this life full of prospects, but the “spirit of the times” drove him into a soldier's greatcoat. All that remains for Jean is forced optimism and nostalgia for years gone by.
The tavern where Jean ends up is a symbolic reflection of France. The people the soldier meets in the dive bar seem so different from each other, but they are all united by similar problems—the crisis, unemployment, and uncertainty about the future. A brilliant surrealist artist finds himself unrecognized by society, and his acquaintance with Jean pushes him to self-sacrifice. The owner of the tavern does not take money from the soldier and does not take offense at his rudeness—over the years of work, he, like no one else, has become imbued with compassion for people. Even the young beauty Nelly, who lives with her godfather Zabel, a rare scoundrel and bandit involved in the death of her lover, cannot find her place in the world. A spark of sympathy flares up between Nelly and Jean, and they are drawn to each other as if to a better life, free from problems and sorrow. The self-aware woman falls in love with the boorish Jean, and he, in turn, is filled with a deep sense of compassion for her. After their first night together, Nelly has no doubt that she wants to be with Jean, and deep down, the deserter wants this too, but years of war have dulled his sense of love, replacing it with pity and sympathy.

The extremely depraved port society is shown in the film in a very optimistic light, with the exception of the artist, who is able to see life more deeply than simple drunkards. Gangsters are portrayed as petty and pathetic people who have turned to crime solely because of their inability to survive otherwise. The gangsters do not even respect their leader, whom they treat as a pawn and a rich accomplice. The image of gangsters in Carné's film is strikingly different from the romantic gangsters of later cinema.

France is facing difficult times ahead and another post-war period, and the anticipation of a new war is indirectly reflected in Quai des Brumes. The tragic ending and the symbolism of the unhappy and destitute dog only emphasize the premonition of new misfortunes. Jean and Nelly try to escape not only from the cesspool of society they have grown to hate, but also from their own footsteps, and this escape never leads to a better world.
What has always distinguished classic cinema from contemporary cinema is high-quality acting. The main character's palette of emotions constantly shifts from anger to peace, and Gabin uses his entire acting arsenal to convey this—intonation, facial expressions, gestures, and poses. Michelle Morgan embodies a person who is tired of life but has a fiery heart burning inside. Her stony expression when talking to the gangsters is replaced by a loving smile directed at Jean. Pierre Brasseur plays a hysterical criminal, a spoiled boy with royal airs – a role that suited this actor perfectly, and he played it magnificently.

Conclusion: The charm of portside France, intertwined with human drama against a backdrop of general instability. A classic of European cinema and simply a very good film.