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FRANCE
Some of the films of Feyder, Carne and Duvivier in the thirties almost pursued the same end but with less freedom of vitality; and we must not overlook Vigo's contribution to realism and poetry. After the constraints of the Occupation, the French cinema was for a long time struggling to reassert its economic independence and opportunities for creative freedom were rare. Nevertheless, as always happens in France, some notable films emerged, among them: Claude Autant-Lara's sensitive, finely-made and beautifully acted Le Diable au Corps (1947); Cocteau's (if you like Cocteau) fantasy La Belle et la Bete (1947); Clouzot's 'police-thriller' Quai des Orfevres (1947); Cocteau's gloomy and powerful Les Parents Terribles (1948); and Gremillon's uneven but still fascinating Pattes Blanches (1948).
New names appeared, to be associated with films that showed a fresh feeling for the cinema after the repressed war years. Jacques Becker's Antoine et Antoinette (1948) and Edouard et Caroline (1951) were spontaneous and brilliant social comedies; but their director, after a superb excursion into a period-costume film, Casque a1' Or (1952) became enmeshed in commercial entanglement. Rene Clement, whose Bataille du Rail (1945) and Les Jeux Inter dits (1952) impressed so much, also became bogged down in bigger and costlier co-productions, of which Gervaise (1956) was the best. Some films which deserve the record from the first half of the decade were: Daquin's convincing and realistic Le Point du Jour (1949); Roger Leenhardt's talented Les Dernier es Vacances (1949); Yves (brother to Marc) Allegret's depressing but sensitive Une si jolie petite Plage (1948); Cocteau's controversial and technically accomplished Orphee (1949); Clouzot's infuriating and all-too-clever Manon (1949) and his sadistic and violent Salaire de la Peur (1953); Renoir's rich La Carosse d'Or (1953); while the late Max Ophiils working in Paris gave us the never-to-be forgotten La Ronde (1950) and Le Plaisir (1952). Jacques Tati was revealed as a new director-comedian of immense versatility in Jour de Fete (1949) and M. Hulot (1953). Other new names included Cayatte, director of the grim but compelling Nous sommes
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