The most enduring and internationally known film by the French creative team of Marcel Carné and Jacques Prévert is 1945’s Children of Paradise, filmed by and large during the last months of the German Occupation. But one of their biggest box office hits was 1942’s Les Visiteurs du Soir. A dark, yet optimistic romantic tale, the picture was made under the very watchful eye of German censors. Despite that, the film managed to capture French viewers given its presentation of the French as a strong-willed people.

In May 1485, at the castle of Baron Hugues (Fernand Ledox), they are celebrating the upcoming nuptials of his daughter Anne (Marie Déa) and Baron Renaud (Marcel Herrand), though the Baron remains in mourning over the death of his wife several years before. In the midst of the celebration, a pair of minstrels arrive at the castle and soon reveal themselves as nobles traveling in disguise. The gorgeous Dominique (Arletty) is disguised as a man, leaving the dapper Gilles (Alain Cuny) to make the introductions. As it turns out, the twosome are actually the The Devil’s Envoys (the film’s English title), whose job it is to spread misery.

During a dance, Dominique music freezes an entire court, giving the intruders ample time to separate and seduce the engaged couple. As the days go by, Dominique has little trouble wrapping both Renaud and Baron Hugues around her finger. However, things get more complicated for Gilles when he finds himself falling in love with the pure, naïve Anne. The Devil (Jules Berry) who has been quietly observing things from afar, immediately leaves his lair and heads to Earth.

Disguised as a nobleman, a bolt of lightning greets the arrival of The Devil. The Devil joins with Dominique to create a fierce jealousy between Baron Hugues and Renaud. The Devil forces Baron Hugues and Renaud to clash in a duel. Prior to that, Renaud, who has already forgotten about Anna, promises Dominique that he will leave with her as soon as his sword strikes Baron Hugues. At the same time, The Devil warns Gilles that he will die a painful death if he doesn’t renounce his love for Anne.

Written by Jacques Prévert and Pierre Laroche, Marcel Carne’s Les Visiteurs du Soir takes viewers to a fantasy world where love conquers all. Given the time of its release, it’s no wonder that French audiences also viewed it as an allegory for the Nazi occupation of their beloved country. French citizens were standing up to a Devil of an enemy, for love of country, no matter the cost.

Carne was an expert at conveying poetic realism, while at the same time, showing realistic aspects of love and life. Lush and profligate, Les Visiteurs du Soir is never schmaltzy, it’s just right.

Shown in the 1.33.1 aspect ratio, Criterion’s 1080p transfer shows some of its age. While far from a terrible transfer, scratches and dirt are evident on countless occasions. But given that this film is 70 years old, I suppose that is to be expected. Contrast is fairly solid throughout, offering strong black levels.

The French LPCM mono mix is very good. While there is some tininess and the occasional crackle, it fits with the audio possibilities of the time. Dialogue is clear throughout.

English SDH subtitles are included.

The following special features are available:

  • The Making of Les Visiteurs du Soir (37:23, SD) Produced in 2009, this documentary features interviews with uthor and Carne friend Didier Decon, archivist Andrew Heinrich, film historian Alain Petit, and journalist Philippe Morisson.
  • Trailer (3:38, 1080p) The original trailer.
  • Booklet: An illustrated booklet featuring Michael Atkinson’s essay “Love in the Ruins.”