It was Thoreau who said that the masses of men lead lives of quiet desperation. It is in the spirit of this pessimistic observation that Delluc assembles his motley collection of the world’s misfits in a sleazy Marseilles bar.
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DCP. A restored print that includes an omnipresent and unbearable score with a tireless accordion, which, by its stridency, makes the mute images mute, that is, with a reduced expressiveness. By themselves, the images of this film, not at all avant-garde, are already little inventive.
Through a series of shot-reverse-shots, Delluc teases with the inclination that eyelines and formalist completion between close-ups will convey connection beyond surface, only to sever and divorce such emotional weight. The moment of the most intimate of connections is minimized through duration, camera distance and narrative completion, further underlying singularity, despite a density of bodies.