But where are the clowns? Send in the clowns. Okay, don’t bother, two of them are in this short by the great French director Jean-Pierre Melville. 24 Hours in the Life of a Clown [Vingt-quatre heures de la vie d’un clown] is just that: a day in the life of Beby, a clown who lives in Montmarte. A multitude of fedoras costar.
In between performances at Circus Medrano, Beby walks the streets of Paris, sleeps with his little dog (but not his wife), reads fan mail, drinks at a café, and puts on makeup with his friend and fellow clown Maïss. Interestingly enough, this is not the only short to feature Maïss, who later appeared in Rodolphe Marcilly’s Centaures et pastiche in 1953.
Who knew clowns pray?
24 Hours in the Life of a Clown holds historical and artistic significance as Melville’s first film. It highlights his style, albeit in its infancy, playing with light and dark. His approach is tongue in cheek, and his “narration” (this is not a “talkie”) strongly suggests Melville knew well that his hoary little film is silly.
Still, it’s interesting if only for the scenery, all 1940s drab and threadbare, and the documentary feel of it. Beby’s apartment reminds me of the one in Eraserhead.
Production: Les Films du Panthéon
(Gene Siskel Film Center) C