Poetic Realism in Pépé le Moko

The article “The Popular Art of French Cinema” did not say a lot about poetic realism, but what it did say was rather applicable to Pépé le Moko.  Two aspects of poetic realism that we recognize as a central part of American film noir are only somewhat noticeable in Pépé le Moko.  Poetic realism involved frequent nighttime settings and dark lighting with emphasized contrast.  These elements are less prevalent in the film.  There is some sharp contrast between lights and darks, but I cannot recall a single nighttime scene.  The typical characters in poetic realism definitely apply to Pépé le Moko.  Male heroes are prevalent and Pépé definitely serves as a strong male hero even though he is a criminal and a bad guy to the world within the film.  The audience wants him to succeed and be happy and well.  It is a bit unsettling if you stop to think about how you are feeling.  It was only near the end of the film that I started to dislike Pépé.  By the end I didn’t care that he was dead.  Pépé’s wife seems to be a character less typical to poetic realist film.  The article says that there is often a supernatural kind of female character.  Pépé’s wife is not this woman.  She is a compassionate woman who loves Pépé and wants him to be safe, but she takes care of her own needs as well.  She is not a woman who throws her own life and happiness away for her man.  She is a very real woman.  Gaby could potentially be the supernatural woman figure in this film.  Through Pépé’s eyes she is perfect and, in the end, he kills himself because he cannot be with her.  Even the people on the streets seem to see her as a sort of goddess.  She is also very upper class, so she seems elevated above the other characters.  The most obvious element of poetic realism in Pépé le Moko is the pessimistic narrative.  The story involves many deaths, emotional trouble, encounters with the police, betrayal, and a suicide over lost love.  This is clearly not a film that leaves its viewer feeling inspired.