• L’Atalante never hits the high-water mark of Vigo’s Zero For Conduct pillow fight slow-motion sequence but the young auteur’s first and only feature (tragically died before completion of the film at age 29) is the more consistent and mature work with ambitious visual flourishes throughout
  • It is a folk story, a fable, a love story- “she’s never left the village” – the breaking the mirror is bad luck and the seeing your true love when you dunk yourself in the water
  • It is a masterful achievement in mise-en-scene. Like von Sternberg’s Blue Angel or Ozu’s work. Vigo layers the frame with obstructions and objects. Close quarters in the barge especially where every inch of the frame is designed with lamps, the phonograph, etc. The 25 minute is a show-off wow frame—32 minute mark with Simon’s Jules and his cluttered cabin
It is a masterful achievement in mise-en-scene. Like von Sternberg’s Blue Angel or Ozu’s work. Vigo layers the frame with obstructions and objects. Close quarters in the barge especially where every inch of the frame is designed with lamps, the phonograph — Ozu’s teapot here at 25 mins
  • At the 9-minute mark there is a great tracking shot as Dita Parlo’s Juliette walks across the barge from left to right as the camera moves left to right with her and the boat is moving the other way
  • Vigo’s trademark (even with an incredibly brief filmography) three/fourths overhead shots – self-taught and predates Welles’ playfulness with angles in the 1940’s
  • Vigo’s visuals and the romance fable that is stylistically rendered is the main reason to praise the film—but from a performance standpoint Michel Simon’s Jules is one of the most indelible characters of 1930’s cinema. Simon was a shapeshifter, and this is his best work. He doesn’t seem like an actor at all but someone so authentic they pulled onto the set off of a real ship. He has his swarm of cats, tattoos, he’s hilarious, jealous (he takes over when she’s sewing)- a true character and important to the narrative- it doesn’t work without him and his performance
Michel Simon’s Jules– his swarm of cats, tattoos, he’s hilarious, jealous (he takes over when she’s sewing)- a true character and important to the narrative- it doesn’t work without him and his performance
  • At 18 minutes Jean Dasté’s Jean is playfully mauling his new wife and Vigo uses her backing into the camera as a creative transition
  • The lure of the big city narrative as used in Murnau’s Sunrise
  • One of the best screen romances- “all day long either smooching or squabbling” echoes the Simon character
  • 55 minutes a gorgeous low-angle shot as they exit the bar
  • The film’s greatness is back-loaded. At 71 minutes we get the surrealism scene of Jean diving underwater and seeing her images. One of the great stylistic sequences of the 1930’s- superimposing her image, dissolve edits–
The film’s greatness is back-loaded. At 71 minutes we get the surrealism scene of Jean diving underwater and seeing her images. One of the great stylistic sequences of the 1930’s- superimposing her image, dissolve edits–
using film style (through editing here) to communicate their connection- a love story rendered cinematically
  • At 74 minutes the brilliant parallel editing/dissolves with matches sequence of Jean and Juliette each in their own bed missing each other
  • DP Boris Kaufman would work in Hollywood later—On the Waterfront is one of the accomplishments
  • MS/MP border- leaning MP as I let this one sink in more