Les_Enfants_Du_Paradis

To establish the extent that crime and criminals are celebrated in Marcel Carné’s Les Enfants du Paradis, it is first important to define what crime is. If ‘crime’ is taken as “an act or omission prohibited and punished by law” then the extent to which it is celebrated is limited to the one criminal Lacenaire. If ‘crime’ is taken as a “violation of morality” (The American Heritage Dictionary, 2000) then each character’s criminal attributions are highlighted. To say that Les Enfants du Paradis praises and supports crime would be incorrect. However the extent to which the film highlights crime in a moral sense can be argued. The film draws a parallel between Le Boulevard de Crime and society, in both of which, crime plays a small but significant part. Crime is an inherent part of society and therefore on Le Boulevard de Crime where all walks of society mix, to truly represent society as it is and was, crime must play a part. The film doesn’t celebrate how love can cause violation of morality or violation of law, it explores the extent of how love can override other feelings and emotions. The film’s backdrop, Le Boulevard de Crime, is a lively, fascinating, theatrical world in the center of Paris which features street performances and lively theaters including Les Funambules. The story’s setting amongst the theatre world provides an existentialist view between acting and reality. The love, affection or admiration each male character holds towards Garance, eventually reveals each man’s true nature. Lacenaire’s criminal temperament could be seen as being celebrated, as his jealousy is the motive behind the murder of Edouard. However it can be argued that from the beginning of the film, Lacenaire was an evil crook who used any excuse to steal or murder. Before the murder of the Count, Lacenaire was still a criminal and the motives behind his crime were not Garance. Mark Moron (2000) describes Lacenaire’s character as being “modeled after Iago, a misanthropic villain who is evil without any clear motive.” Lacenaire’s evil outlook is seen in his ability to let Garance be convicted of the crimes he has committed, even though she is saved by the Count. However this clear act of a devil, doesn’t celebrate his actions, only highlights his villainous and iniquitous personality and reiterates why leading the life of a constant lawbreaker is nefarious, immoral and dishonorable. Aside from the film’s leading criminal Lacenaire, it can be argued as to the how crimes of morality are committed by the other leading characters. The central focus of the story is on the unattainable Garance. Garance is a free natured spirit, who is a natural joy and truly honest. It is these qualities that make her an incredibly desirable women. She isn’t concerned with money, nor is she concerned with image; she represents a liberated woman who says what she feels and is the only truly honest character. Her opinion on Lacenaire and his criminal actions aren’t expressed in the film. It therefore may appear that Garance doesn’t mind that he is a criminal. However because Garance never loved Lacenaire and was only associated with him because she was bored, his crimes weren’t her concern. She didn’t care enough about Lacenaire to care that he was a crook. Rather than celebrating crime, the film shows Garance’s lack of feeling towards Lacenaire and celebrates her ability to be liberated. The theme of emancipation is explored through Garance, a rare subject to be seen in French cinema of the time. Phil Powrie (2006) argues that “critics have read Garance as the tragic grandeur of France’s captivity,” relating to the Occupation. Even though she is physically captured, she refuses to give her heart to anyone but herself, which could be a reflection on how individuals in society, although oppressed or captured, can still remain true to themselves. Even though she is linked briefly to the criminal, Lacenaire, she possesses no dastardly or viscous traits like him. Ultimately, Lacenaire’s actions are the reason she has to leave with the Count, showing how his crimes against society aren’t celebrated as the consequences are detrimental. Although it is evident that crime is a theme featured in Les Enfants du Paradis, what the film celebrates is people’s ability to ‘act’ or play out their part in society. All four of the men act in certain ways; whether it is Lacenaire’s acting as a gentleman behind his mask as a criminal or the Count acting as though he doesn’t want to possess Garance merely because of her beauty. However the character who acts the most throughout the story is Frédérick LeMaître. From the outset, he is a skillful actor when charming the women but only at the end after realising his feelings for Garance, can he play his ultimate dream of Othello. With the exception of Lacenaire, the other three men who are linked to Garance commit crimes of immorality rather than against the law. Whether it is Baptiste committing adultery, Frédérick sleeping with married women and not paying his debts or the Count keeping Garance as a trophy and killing a man in a dual; each character commits crimes of immorality. Garance’s one true love, Baptiste, is a gentle character who loves Garance the moment he meets her. His immoral crime of adultery show how the emotion of love can override other moral feelings. Rather than a celebration of this, the audience sees the damaging consequences his immoral actions has for other people, especially Nathalie, but also for Garance and Baptiste themselves, as they can’t be together. Le Boulevard de Crime is an exciting and yet dangerous street where Garance meets each of the men. Le Boulevard de Crime is a crowded, buzzing, vibrant street and this is depicted in the opening scene of the film. More precisely than a celebration of immoral or lawbreaking crimes, the street reflects how the characters feel it is one of the loneliest places. In the second part of the film, however busy and bustling the street is, isolation and solidarity become evident. Frédérick, once only happy when seducing women, appears apathetic and malcontent with his lifestyle choices. For Garance, when she returns with the Count, she tells Baptiste that she feels completely alone, even though the Count has given her everything a women could ask for but material possessions mean nothing to Garance. Her primary concern is what is in her heart. This feeling is emphasised when Garance watches Baptiste perform at Les Funambules every night, on her own and is underlined when Baptiste’s son asks her if she has a little one of her own. The theme of unrequited love produces the emotions of isolation and loneliness. Even though the film takes place on one of Paris’ busiest, crime ridden, most alive streets, the film doesn’t focus around this. The characters’ lives have become an ‘act’ as they are both emotionally and physically isolated by their unrequited love. More than celebrating, it romanticizes the setting of Le Boulevard de Crime and shows how somewhere so busy can still be an incredibly lonely place. Rémi Fournier Lanzoni (2004) describes the Le Boulevard de Crime as a place “where mimes and burglars rubbed shoulders with aristocrats and assassins,” showing how crime was a part of the story but more importantly, how all social classes came together in this exciting street. Each of the men that fall in love with Garance meet her on Le Boulevard de Crime regardless of their status in society. Whether it is Edouard the Count, Baptiste Debureau the shy mime, Frédérick LeMaître the egotistical seducer, or Lacenaire the romantic, evil criminal; each part of a different social class yet desire the affection of Garance. Jill Forbes (2008) describes Les Enfants du Paradis as a film that is effective in “destablising social hierarchies”. As the film presents a realist interpretation of what life was like living on Le Boulevard de Crime during the 1840s, crime will be a part of this life. More than celebrating crime and criminals, the film portrays crime in a realist manner. Ultimately Lacenaire, the only true lawbreaking criminal at the end faces up to the consequences of his actions through his own volition. If the film had celebrated lawbreaking crime, Lacenaire would have walked away from his crime. Crime within the sense of lawbreaking, is the action of taking, whether it is taking someone’s life, or taking someone’s possessions. Whereas all the central characters are willing to give. The Count is willing to give his protection and material goods, Baptiste is willing to give his heart, Frédérick gives his soul to his audience and Lacenaire gives up his life of his own volition. In terms of the immoral crimes each character commits, more than a celebration of this, the film explorers what individual people, from different walks of life, will do for love. Ultimately Garance’s heart belongs to Baptiste, ‘the good guy’. She doesn’t choose to love the criminal, the womaniser or the possessor. By not choosing the criminal, Lacenaire, the film doesn’t celebrate his actions. The film’s realist perspective will naturally include the theme of crime. However this theme depicts what life was like and highlights how ultimately whether the characters committed lawbreaking or immoral crimes each character essentially was punished.