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Product details

Package Dimensions ‏ : ‎ 7.1 x 5.42 x 0.58 inches; 2.93 ounces
Media Format ‏ : ‎ Blu-ray
Subtitles: ‏ : ‎ English
ASIN ‏ : ‎ B004PG9FXI
Number of discs ‏ : ‎ 1

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4.2 out of 5

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Dr René Codoni

Sauve qui peut

Reviewed in the United States on June 30, 2012

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100us Boudu sauvé des eaux by Jean Renoir (1932, 87')'

Boudu Saved from Drowning (French: "Boudu saved from the waters") is a 1932 French film directed by Jean Renoir. Renoir wrote the film's screenplay, from the play by René Fauchois. The film stars Michel Simon as Boudu. Noted American critic Pauline Kael called it, 'not only a lovely fable about a bourgeois attempt to reform an early hippy...but a photographic record of an earlier France.'

Jean Renoir (1894-1979), French international cinéaste, auteur and metteur en sc'ene, adored and praised during his lifetime and ever since by the most divergent groups, icon of the iconic Cahiers du Cinéma. Michel Simon, famous French actor of Swiss extraction, anarchic monstre sacré, in an equally anarchic film about the non-domesticabilty of a tramp, and generally the limitations of personal freedom.

Good black and white copy. All praise deserved. Excellent entertainment.

100us - Boudu sauvé des eaux by Jean Renoir (1932, 87')' - 30/6/2012

4 people found this helpful

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Digger

Nice Criterion DVD

Reviewed in the United States on August 13, 2023

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Criterion is the bomb! We enjoyed this movie.

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t j quesada

simon as boudu equal to stan laurel!!?!?

Reviewed in the United States on September 28, 2016

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Boudu has a classic dont care attitude equal to stan laurel. The way he handles the snobbish attitude of the wife of bookseller is priceless, then he makes her fall in love with him !!! Great comedy by Renoir.

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M L Hill

Save my class from being boring.

Reviewed in the United States on March 14, 2017

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I'm so glad I have a copy of this film. Used it in a World Cinema class. It's pretty cool just to see Paris in the 1920's! But also some amazing performances. My only problem with this line of films is that there are no chapter choices -- you have to poke around in the film to find a specific location. And when the film is over, it just starts up again.

I'm not complaining that much. I'm delighted to have this in my collection.

2 people found this helpful

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Anthony J. Juliano

Five Stars

Reviewed in the United States on November 18, 2015

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Perfect! A+

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J. Kara Russell

Important film history

Reviewed in the United States on November 12, 2007

This is a marveouls slice of film history, giving a very accurate representation of life in 1932 Paris, and also an artistic vision, as well as subthemes of Freudianism, as it began to permate the arts of the 1930s and 1940s.
Boudu is reminiscent of Chaplain's little trap, but more realistic and fully realized, irritating, ignorant, aggrivating and entirely self centered. He is the animal nature of man, and our Bourgeous gentleman who takes him in is the supposedly cultured man who is also selfish and blithe in his own ways.
The two main female characters also represent the "natural" woman as opposed to the "polished" woman. No one here is blameless. This makes for marvelous complexity, if a loss of likability.
There are traveling shots here within the confines of the apartment which are still influential - the delicious film AMELIE has set ups which echo many of the the set ups in this film.
An important film for film history buffs, interesting for history buffs, probably much too predictable and slow for many modern film audiences. It's strength is also it's weakness, the time the Director gives actors time to just "be" within an environment (and the correctly used hamminess of the lead actor).
This was the basis of "Down & Out in Beverly Hills," and translated well. They even managed to keep the tone. See that one if you're not interested in the historical context.
Note how casting has changed. None of these actors are beauties, even the one cast as a beauty. That is so wonderful and refreshing - I wish we'd get back to that instead of everyone looking like a plastic mannequin

4 people found this helpful

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Zoran Gonda

Wrong title and director

Reviewed in the United States on February 12, 2009

There are two mistakes about this DVD. The English title for this Italian movie should be either Bread, Love and Dreams (original: Pane, amore e fantasia) or Bread, Love and Jealousy (original: Pane, amore e gelosia). The actors Vittorio de Sica, Gina Lollobrigida and Marisa Merlini played in both movies and the product description could easily be related to any of them. Both movies were directed by Luigi Comencini and not by Vittorio de Sica. Boudu Saved From Drowning is a very famous Jean Renoir movie from 1932. Both Italian movies are very good, but the one star is because of these mistakes.

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darragh o'donoghue

One of cinema's immortal, and most provocative, comedies.

Reviewed in the United States on November 2, 2001

The opening scenes of 'Boudu Saved from drowning' contrast the urbane bookseller Lestingois with the hirsute titular tramp. The former presides over a haven of super-civilisation on the banks of the Seine, surrounded by rare books, paintings, statues, the best that the best minds have thought and created. he is using the skill absorbed from this culture, however, to beguile his impressionable mistress, the young maid Anne-Marie - in this case classical rhetoric not only disguising basic natural urges, but actually replacing them, Lestingois' appetite more evident that his capabilities.
Boudu, on the other hand, is first seen in a park, caressing his dog, singing snatches of song, linked to the natural and populist. These two collide when Lestingois rescues a suicidal Boudu, and invites him into his home, where he is soon smashing plates, smearing shoe polish over the satin and spiiting in rare Balzac novels. The movement of the film seems to be towards the greater bourgeoisification of Boudu - new clothes, Samsonian hair cut, ennobling by money and marriage. But the film actually revolves around sex. The film starts with a Greek tableau of Pan chasing a nymph, cut to Lestingois and Anne-Marie. Boudu begins replacing his benefactor, not by accumulating bourgeois habits, but by displaying the sexual prowess the self-styled Priapus Lestingois lacks (the latter has no children).
70 years on, 'Boudu' remains a shockingly funny comedy, provocatively hostile to the soul-stultifying deceptions, compromises and resignations of the bourgoisie. If this makes the film sound aridly polemical, than you don't know Renoir - the slouchy, amused Lestingois is the most sympathetic character in the movie, cultured, tolerant, benevolent - his crime, if you like, it the bourgeois expectation that the rescued Boudu should be grateful and hence dependent. Even the women reveal depths beyond the initial caricatures - Mme Lestingois is given a beautiful epiphany, lying dejected on her bed, suddenly awoken by street music, taken back somewhere we've no access to. Concepts of death and rebirth, heaven and hell, destruction and continuity recur, filtered through the overarching metaphor of the river.
The film is a strange mixture of the antique and the modern. The documentary-like aspects of the film, the real-location shooting of pre-war Paris, its parks, cafes, pageants, music, rivers, boats etc., are ironically the most 'dated', in the sense that they capture a world long since vanished. The theatrical artificality of the film, by contrast, is the clue to its modernity - the division of the narrative into music-signalled acts; the farce-like plot; the complex composition of domestic and exterior space. The film's motifs revolve around spectators looking at unfolding dramas, windows framing action and dividing characters from life. There is a remarkable sequence in the park, where a plein-air location is turned into a vast, endless stage set, through which characters wander in and out. Far from restricting the cinematic quality of the film, this theatricality liberates it, opening up the rigidity of the frame, of one viewpoint, intimating whole worlds beyond it.
These tensions - between civilisation and nature, high and popular culture, sympathy and satire, ancient and modern, documentary and theatre - result in one of Renoir's, and cinema's, greatest films.

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Top reviews from other countries

Bradley

Michel Simon is excellent.

Reviewed in the United Kingdom on September 23, 2023

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Lovely piece of whimsy and farce carried by the excellent Michel Simon as the down-and-out Boudu. Some clunky class contrasts but overall well worth a watch.

GVC

Blu ray is stunning

Reviewed in the United Kingdom on October 30, 2012

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If you own the DVD of this classic Renoir film or even if you were considering buying one- I say HOLD IT!. Get this Blu-Ray instead. The restoration is simply stunning! for such an old and venerable film. I think this is where the Blu Ray really comes to the fore- when you see these restored B & W classics. The grain and clarity here are beyond anything I could have hoped for! Given that Renoir shot so much of it outside in natural light adds to the enjoyment of the film like never before! Renoir's style has always remained fresh no matter how many years have gone by.
A few of the shots in the film are in soft focus, but as a note tells you before the film starts, this is down to Renoir's choice of lens for these shots rather than a fault in the film itself. Additionally there is a 12 sec bit of film that has been put back in for this restoration, and those seconds are just as pristine as the rest of the film although deliberately left without subtitles, as the Blu ray box informs us.
Wow! Now if only someone would do a similar job on 'The Crime on Monsieur Lange' and 'Une partie de campagne',I'd be a happy man! (There are already Blu ray restorations on 'La Grande Illusion' & 'La Règle du jeu': although I have not seen the latter, the La grande Illusion restoration is also terrific.)

2 people found this helpful

M. Claude Devillard

Epitome of libertarian and anti-bourgeois utopia

Reviewed in the United Kingdom on August 27, 2013

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Epitome of libertarian and anti-bourgeois utopia that is the Renoir cinema in the 30s. Renoir affection for Lestingois, tolerant (if not to spit in the physiology of marriage Balzac), hedonistic (except when asleep before joining Anne-Marie) rather a real nice guy, and the film is not so much a clash of order and anarchy than the temptation of the first to the second.... cd

One person found this helpful

Carolus

Three Stars

Reviewed in the United Kingdom on January 29, 2016

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Historically interesting with good views of Paris in the 30s. Recommended by Derek Malcolm.

Ove Rytter Jensen

Five Stars

Reviewed in the United Kingdom on October 25, 2015

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