what is your favorite moment?


i dont know how often this page gets looked at but i wanted to ask anybody to offer up their favorite moment in this beautiful film. i'm a film student at columbia university and im currently working on my senior thesis. i've decided to try to define the "cinematic moment" (i.e. any particular image, scene, instant, etc. that sticks out in your memory). 'les enfants du paradis' is filled with them, which is why i chose it for my topic. it's also relevant because carne and prevert were concerned with constructing and creating these "moments" in the film.
i want anyone who cares to to describe ANY (and i do mean any) image that sticks out for them from this film. thanks for your help.

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Oh hey!

My vote, after some reflection, would go to the scene in Part II where Frédérick and Garance meet again during Baptiste's performance.

...and great care is lavished upon them before the tickle-harvest.

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The first performance at the Funambules - during the fracas between the Barrigni's and the Duberau's, someone in the audience calls out(not from the 'gods') "Shut Up!! I can't hear the mime!" - that was brilliant.

Any scene with Lacenaire

The meeting with the Count and Lacenaire on the stairs.
Garance meeting Baptiste jnr.

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Where Nathalie says Garance cannot love Baptiste, because she has "all the love for him in the world". At which point, yeah, I pretty much dismiss Baptiste as a complete bastard! Not to mention the fact that Nathalie is much prettier...

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If I have to choose just one: I love the scene on the street where Baptiste pantomimes the theft of the watch. Brilliant!

I think the 2003 Moulin Rouge! tried to achieve many of the same effects as Les enfants du paradis, and while it is visually interesting, Moulin Rouge! doesn't ever achieve that perfect melding of acting, atmosphere, music and mood that this film does. Not even close. Though my hat's off to anyone who has the guts to try.

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There's something about Baptiste's meltdown in Garance's dressing room that really sticks with me. I think it's because Barrault is in the full mime makeup, so we're seeing him release all of this pure, unadulterated emotion behind this completely blank face. I don't know, the contrast, and the intensity of Baptiste was really affecting.

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Oh god, that scene always makes me cry. When he looks in the mirror and draws an "X" over his face, points to it, and says, "Here lies Baptiste."

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I'm surprised more people haven't mentioned this. This is the scene that really sticks with me as well, slightly moreso than Baptiste's mimed defense of Garance the first time they meet. I love the dressing room scene where he smashes the flowers and draws an "X" over his reflection in the mirror. I love his passion and intensity. I never thought about the contrast with his mime makeup, but you're totally right. I think it adds something.

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@nocturn0wl I agree. Striking scene.

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Does anyone think that this film influenced Moulin Rouge? Art, freedom, love etc, transcending all, etc. Or even that Moulin Rouge was a sort of remake/hommage? The best "moment/s" (the ones I can remember anyway) are the crowd in the gallery (the children of the gods of the title) - always judging, appreciating, ignoring, criticising - never seemingly the players, but in fact the only ones who matter.

V.poncy I know but that's the kind of person I am...

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Yes and no.

All of that Love/Freedom/Truth was part of Paris before Les Enfants AND Baz Lurhman, thanks to Toulouse-Lautrec and bohemians romanticized by Puccini.

Some of the themes, however, of life inspiring art and art inspiring life and the questioning of when the stage ends and life begins or life ends and the stage begins - that is as old as Shakespeare, but was played with a lot in this movie and continued in Baz's Moulin Rouge.

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As for your children of the gods - aren't the folks in the gallery 'the gods' themselves, ironically, because of the name given them by theater crowds (they are in the nosebleed section, the penny seats, therefore 'the gods') - they judge, laugh at, ruin, encourage, praise, and celebrate the 'children' who are below them on the stage... transcending this, the audience could be seen as more 'gods' and the actors as more 'children' performing for us...

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That is what I meant - twice. Sadly no-one foresaw that democracy has managed to become the best means of denying the people their godlike status...(not that I am anti-democratic, of course)...

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I would agree to a point about Baptiste, and remind everyone to read any 20th century British novel (or Updike, or McEwan) if they wish to encounter characterizations of what happens when people try to remain faithful in relationships where the love has moved on and individuals have been betrayed by fate.

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"Also, the last scene of course. I think it's absolutely suffocating to realize that Baptiste is in effect devoured by himself in that scene. All of those crazed people dressed like him jumping all around, keeping him from the love he so desires. Never seen anything like it and never will. "

unsolved fan, you have really summed it up well. That is the moment that sticks in my mind. A very memorable one. Many other scenes come to mind, but this one had the most impact for me.

When I rented the DVD, I went ahead and watched the trailer first and wasn't sure that the I wanted to watch this film after all, but I figured that I'd give it a go and found myself completely engrossed.

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I have not seen this film for maybe fifteen years, but certain scenes stuck with me.

I saw it in a lonely art theater with maybe a half dozen other viewers on a cold weeknight.

When Baptiste confronts the villain and his strongman in a pub with Garance, the strongman throws Baptiste through a window. There is a moment, and then Baptiste simply steps through the open window and reapproaches the table as if nothing had happened and he cannot be denied. The act is simple, naive and heroic. Though there were only a few viewers in the theater, I heard gasps because of the character's bold move and the risk and danger it represented.

A scene that frustrated me to no end was when the flamboyant, arrogant comic-relief actor character brags to a stage director that he can perform anything and entertain anyone. The theater is full of a rowdy crowd, which has booed everything off the stage.......the stage director tells the actor that "all we have is a bear costume". The actor accepts the challenge, changes into the bear costume, and heads for the stage............and then the scene fades out! We learn that the actor won over the crowd, but you could not believe the anticipation I felt when that bear headed out past the curtain--I thought I was going to seee one of the most well-written and entertaining scenes ever scripted! Instead, it's left to the imagination........or some may say left to a writer's cop-out. Such a scene....of an actor walking upright in a silly bear costume out before a hostile crowd and winning them over.....should be any writer's dream.

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so....anybody have anything else to add?

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