Based on Henri Murger’s Scenes de la Vie de Boheme—the same 19th century novel that inspired Puccini’s opera, La Vie de Bohème is a very subdued film; so much so, that if you watch just the first fifteen minutes or so, you could believe nothing happens. That’s not exactly true. La Vie de Bohème is subtle; things emerge.  Director Aki Kaurismaki clearly knows where he’s going with the story, but he doesn’t clearly define important events and plot points for the viewer.

The story centers on three men in Paris who believe they are blessed with special artistic talents. Marcel Marx (André Wilms), a lonely playwright has just been evicted; Rodolfo (Matti Pellonpaa), an Albanian painter, has overstayed his visa, and Schaunard (Kari Vaananen) is a pianist and composer enraptured by atonal music.  Broke, and living and Paris, it’s only a matter of time before their work is discovered by the masses.

Shortly after being evicted, Marcel meets Rodolfo for the first time in a cheap bistro. The two eat together over a few bottles of wine. Drunk, and having forgotten his homeless status, Marcel invites Rodolfo back his apartment. When Marcel attempts to unlock the door, Schaunard, also drunk, opens the door and invites them to come in for a drink. One step away from starvation much of the time, the three men form a quick bond, pooling their resources to help each other out.

In the hallway of his apartment building, Rodolfo meets Mimi (Evelyn Didi), a poor and beautiful young woman. A chivalrous gentleman, Rodolfo invites her to spend the night at his apartment, while he heads to the nearby cemetery so that she can rest without worrying that he will take advantage of her. Moved by Rodolfo’s tremendous generosity, Mimi’s heart begins to melt. Despite their commitment to each other, poverty and circumstance conspire to keep them apart.

Days later, Marcel is interviewed by the gruff magazine publisher Gassot (played by the director Samuel Fuller) who actually hires him as an editor, while Rodolfo is approached by wealthy businessman Blancheron (Jean-Pierre Leaud) who having just discovered the beauty of art, he’s decided he wants to collect paintings.

It’s not exactly clear why Finnish director Aki Kaurismaki chose to shoot the film in French, other than to say it makes the characters seem more immersed in the bohemian lifestyle of Paris. I will say that the decision to shoot the film in black and white adds to the dreariness that pervades the entire story. While certainly an interesting adaption of Scenes de la Vie de Boheme, It feels a bit empty and lifeless at times. Even so, all of the actors acquit themselves quite nicely.

Framed in the 1.85:1 aspect ratio, Criterion has provided another stellar transfer. Shot in black and white, the contrast is absolute perfection. The image is clear throughout, and depth is impressive. There are no discernible flaws.

Audio is presented via a monaural track in original French. Music is a dominant part of the track. While the dynamics are nuanced, they are somewhat limited. The dialogue is stable and crisp throughout, and no pops, hisses, etc. are apparent. The English translation appears to be excellent.

English subtitles are available.

The following Extras are included:

  • Interview with Actor André Wilms (HD, 11:28) Conducted by Criterion in 2012, Wilms discusses working with Aki Kaurismaki on La Vie de Bohème.
  • Where is Musette? (HD, 51:53) Produced during the shooting a Vie de Boheme in the suburbs of Paris, there are cast interviews and crew interviews, as well as some raw footage.
  • Booklet: A booklet featuring photos and an essay by film critic Luc Sante.
  • DVD copy of the film.