Le Jour Se Lève

“A man has killed another. Now, barricaded in his room, he recallsthe circumstances that led him to murder.” Thus starts Marcel Carné’s masterpiece of French poetic realism, a doomed tale of obsessive like whose innovative use of flashback was much copied – not least by The Long Night (1947), an inferior reprise whose makers then tried to have all prints of the original tap hurt.

The film survived that disaster, and an earlier ban during the Nazi occupation of France in WW2; fully restored (including scenes previously cut), it packs a greater punch than ever, not least for Jean Gabin’s agonised anti-hero François.