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Tamara 2023-05-06 02:44:50
Regarding the instinctive desire to escape and the inevitable fate of imprisonment, the last knife stabbed Bei Bei's tragic color; the representative work of "poetic realism" is full of...
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Morgan 2023-04-24 02:16:33
I love Gaben so much, and entertaining my younger brother to watch this movie is high-end...
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Crawford 2023-03-27 12:36:07
The scene is well selected, and the composition function comes with it. Typical poetic realism, with lyricism and...
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Peggie 2023-03-11 14:42:01
The character seems to have directly become the jade-faced flower thief that women love, but he is rude and caressing, maybe just a little brotherly loyalty... I don't see Beibei's charisma of recruiting a bunch of brothers and women to work for him. However, the film's later poetic portrayal of his life pursuit is indeed meaningful. The love crisis between the two is very similar to the tragedy of Juliet and Romeo. Beibei himself also interprets the values of love and freedom over...
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Santino 2023-03-10 09:08:28
The ending is good, this city is...
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Mikel 2023-03-07 08:52:42
Poetic realism interior and exterior scenes combined with the scenes of the slums in the south of France to reproduce the environmental dilemma, typically expressing a desperate pessimism...
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Pearlie 2023-02-11 02:09:20
French poetry from 1934 to 1939. The black period of...
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Dariana 2023-02-08 04:29:11
JG embroidered on Pépé's shirt, Jean...
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Nathaniel 2023-02-06 23:17:34
Unable to get rid of the fate, Cass Bar is both his umbrella and his prison, and only death can be...
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Spencer 2023-02-02 05:10:21
[Exhibition at China Film Archive] The prototype of "Casablanca". Although it is a 1937 movie, the language of the cinematic lens is so mature and rich that it is still shining even after 80 years. Beibei's unrestrained impulse, lover's deep misery, policeman's sleek and cunning... the image of each character is so vivid and unforgettable. Algiers is indeed one of the most story-telling cities in North Africa. Four and a half...
Pépé le Moko Comments
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Janvier: Pépé le Moko is still at large.
Meunier: Algiers isn't Pigalle.
Janvier: In Pigalle, he'd have been behind bars long ago.
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Meunier: The Casbah is like a labyrinth. I'll show you. You can say Pépé's gone underground. From the air, the district known as the Casbah looks like a teeming anthill, a vast staircase where terraces descend stepwise to the sea. Between these steps are dark, winding streets like so many pitfalls. They intersect, overlap, twist in and out, to form a jumble of mazes. Some are narrow, others vaulted. Wherever you look, stairways climb steeply like ladders, or descend into dark, putrid chasms and slimy porticos, dank and lice-infested. Dark, overcrowded cafés. Silent, empty streets with odd names. A population of 40,000 in an area meant for 10,000. From all over the world. Many, descended from the barbarians, are honest traditionalists, but a mystery to us. Kabyles. Chinese. Gypsies. Stateless. Slavs. Maltese. Negroes. Sicilians. Spaniards. And girls of all nations, shapes and sizes. The tall. The fat. The short. The ageless. The shapeless. Chasms of fat no one would dare approach. The houses have inner courtyards, which are like ceilingless cells that echo like wells and interconnect by means of terraces above. They're the exclusive domain of native women. But Europeans are tolerated. They form a city apart, which, step by step, stretches down to the sea. Colorful, dynamic, multifaceted, boisterous, there's not one Casbah, but hundreds. Thousands. And this teeming maze is what Pépé calls home.
