Game in Monte Carlo
| Movie | |
|---|---|
| German title | Game in Monte Carlo |
| Original title | Pension Mimosas |
| Country of production | France |
| original language | French |
| Publishing year | 1935 |
| length | 105 (German version) 109 (original) minutes |
| Rod | |
| Director | Jacques Feyder |
| script |
Charles Spaak Jacques Feyder |
| production |
Alexandre Kamenka Hans Henkel Georges Lourau |
| music | Armand Bernard |
| camera | Roger Hubert |
| cut | Jacques Brillouin |
| occupation | |
| |
Game in Monte Carlo is a French feature film from 1935 directed by Jacques Feyder .
action
The Côte d'Azur in 1924. Louise and her husband Gaston run the small pension Mimosas in Monte Carlo . Most of their guests are hapless gamblers who ran for their savings at the nearby casino. Louise and Gaston take care of little Pierre, whose father is currently serving a prison sentence. When he is released from prison earlier than expected, he takes his son back into his home and moves with him to Paris.
Ten years have now passed, but Pierre is still in contact with his “adoptive parents” - mainly because he is constantly worried about money. In Paris, Pierre has gotten into bad circles and keeps afloat with windy shoving. Louise then travels to Paris to see what is right. The arcade operator Romani, in particular, is very bad at Pierre, as the young man has taken his half-silly friend Nelly - not exactly a sad child - from him. Then Romani has Pierre beaten up. Louise is then able to convince Pierre to return to Monte Carlo with her and take a job in the pension there.
When Nelly shows up at the Mimosas Pension, things get complicated. Nelly is quite a bitch, she steals and cheats and wraps the amorous Pierre around her finger. Above all, Louise sees the young woman as a competitor for the favor of "her" Pierre. Soon their jealousy turned into a real rivalry. Nelly tries by all means to lure Pierre back out of the pension and threatens to have success with her methods. Thereupon Louise notifies the nasty type Romani so that they can bring Nelly back to himself. In fact, he comes straight away and she follows him back to Paris.
Pierre's unstable character and easily influenced personality are the reasons why he cannot resist the temptation to try his luck at the casino in Monte Carlo. He quickly gambled away money - which does not belong to him. Louise tries again to save him from his self-inflicted malaise. She takes her own money and becomes a gamer herself. In fact, she wins and tries to help Pierre with the money she has won. But Louise is late, Pierre has taken poison and is dying. In a feverish state, he can no longer distinguish Louise from Nelly and kisses her goodbye. Out of love for her adopted son, Louise pretends to have Nelly and she returned to him.
Production notes
Spiel in Monte Carlo was shot in the summer / autumn of 1934 and premiered on January 18, 1935 in Paris. The film only opened in Germany after the Second World War.
The film structures were created by Lazare Meerson , Marcel Carné served Feyder as one of two assistant directors.
Spiel in Monte Carlo was awarded the Japanese Kinema Jumpō Prize in 1937.
Reviews
Reclam's film guide wrote: “Alongside La kermesse héroique , this was Feyder's greatest talked about success. He staged the effective, gloomy fatalistic story with careful realism. The characters are drawn vividly, the milieu is exactly met. The dark basic tone of the plot and the atmospheric description of the milieu can be found again later in the films by Carné, who also assisted Feyder in this film. "
For Kay Weniger's Das Großes Personenlexikon des Films , Feyder's celebrated productions Le grand jeu and Pension Mimosa's were "socially committed views of society with fatalistic-pessimistic basic tendencies."
Georges Sadoul analyzed Pension Mimosas in detail: “This film, which has remained young to this day, describes certain social classes that live from gaming: the croupiers of Monte Carlo and the Parisian“ milieu ”, but also the gloomy love of a modern Phaedra ( Françoise Rosay ) to her adopted son ( Paul Bernard ). All social types are masterfully drawn, as are the various milieus, the main actors in the drama: a family boarding house for gamblers, the casino hall, the croupier's school, a nasty suburban pub. The film ends badly: the money won at roulette to save a derailed one does not prevent his suicide. But every “solution” would have been conventional, and what greatness, apart from the passion, Feyder could have given his characters, the relatives of those whom Vigo had branded and ridiculed on “A Propos de Nice”. "
The Lexicon of International Films found: “Feyder's film is one of the not insignificant forerunners in film history of the new“ poetic realism ”, which Carné then cultivated, who was assistant here. Great care with the decor and strict care with the assembly, for example with the casino scenes, give the film a great inner tension. "
Web links
- Game in Monte Carlo in the Internet Movie Database (English)
Individual evidence
- ↑ according to a short message in the Österreichische Film-Zeitung from September 15, 1934, page 4, another from October 20, 1934 on page 6 and the last one from November 17, 1934 on page 6
- ↑ Reclams Filmführer, by Dieter Krusche, collaboration: Jürgen Labenski. P. 465. Stuttgart 1973.
- ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 2: C - F. John Paddy Carstairs - Peter Fritz. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 , p. 665.
- ^ Georges Sadoul: History of the cinematic art. Vienna 1957, p. 268
- ↑ Klaus Brüne (Red.): Lexikon des internationale Films, Volume 7, S. 3547. Reinbek near Hamburg 1987.