Marie of the Port
Synopsis
Henri Chatelard is well in his forties, owns a restaurant and a cinema in the city, and appreciate women. When he meets Marie, a 18ish stronghead who just lost her father in a small fishermen village, it is not clear who is the hunter and who is the prey.
Source : IMDb.
Credits
Director (1)
Actors (32)
Production and distribution (3)
- Executive Producer : Films Sacha Gordine
- Film exports/foreign sales : Editions René Château
- French distribution : Les Films Corona
Full credits (12)
- Adaptation : Louis Chavance, Georges Ribemont-Dessaignes, Marcel Carné
- Director of Photography : Henri Alekan
- Music Composer : Joseph Kosma
- Assistant directors : Pierre Chevalier, Jean Valère
- Editor : Léonide Azar
- Sound Recordist : Antoine Archimbaud
- Author of original work : Georges Simenon
- Producer : Sacha Gordine
- Camera Operator : Henri Tiquet
- Production Designer : Alexandre Trauner
- Artistic Director : Auguste Capelier
- Still Photographer : Raymond Voinquel
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Technical details
- Type : Feature film
- Genres : Fiction
- Sub-genre : Drama
- Themes : Love
- Production language : French
- Original French-language productions : Unspecified
- Nationality : 100% French
- Production year : 1949
- French release : 18/02/1950
- Runtime : 1 h 28 min
- Current status : Released
- Visa number : 5274
- Visa issue date : 14/03/1950
- Approval : Unknown
- Color type : Black & White
- Aspect ratio : 1.37
- Audio format : Mono
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About
Recovering from his disastrous experience with the never-completed La Fleur de L'Age, French filmmaker Marcel Carne proved he hadn't lost his touch with La Marie du Port. Played by Nicole Courcel, the eponymous Marie is the younger sister of Odile (Blanchette Burnoy). Odile in turn is the mistress of been-there-done-that Chatelard (Jean Gabin). Upon meeting Marie, Chatelard's cynicism melts away. Still, he merely toys with the girl's affections--at least until he discovers that Odile is carrying on an affair with Marie's boyfriend. Chatelard stops Marie from committing suicide, and for the first time in his life really means it when he pledges his undying devotion. Like many French films of the era, La Marie du Port was but a shadow of its former self when the American censors got through with it.
Hal Erickson, Rovi
