Le Pont du Nord: sequence by sequence
title: ‘Octobre
ou novembre 1980, il y a deja longtemps -’
Sequence 1:
20ème: place de la porte de Montreuil: Baptiste (Pascale Ogier) arrives (‘A nous deux Babylone’).
20ème: place de la porte de Montreuil: Baptiste (Pascale Ogier) arrives (‘A nous deux Babylone’).
title: ‘Le premier jour’
Sequence 2:
14ème: Place Denfert-Rochereau: Marie Lafée (Bulle Ogier) arrives, in a truck, coming up the avenue René Coty.
14ème: Place Denfert-Rochereau: Marie Lafée (Bulle Ogier) arrives, in a truck, coming up the avenue René Coty.
Sequence 3:
20ème: rue de la Croix Saint-Simon: Baptiste & Max (Jean-François Stévenin), with a motorbike.
20ème: rue de la Croix Saint-Simon: Baptiste & Max (Jean-François Stévenin), with a motorbike.
Sequence 4 (3 shots):
14ème: Place Denfert-Rochereau; Marie goes into a café (the ‘café de Belfort’, now Monceau-Fleurs, 110 avenue Denfert-Rochereau), and comes out quickly; insert: J. Lorieux’s (1908) statue ‘La Sainte Catherine’ (‘à l’ouvrière parisienne’) in the square Montholon (9ème); Marie buys 2 croissants from a boulangerie (‘J. Berthault’, presumably near Denfert-Rochereau), without going in.
14ème: Place Denfert-Rochereau; Marie goes into a café (the ‘café de Belfort’, now Monceau-Fleurs, 110 avenue Denfert-Rochereau), and comes out quickly; insert: J. Lorieux’s (1908) statue ‘La Sainte Catherine’ (‘à l’ouvrière parisienne’) in the square Montholon (9ème); Marie buys 2 croissants from a boulangerie (‘J. Berthault’, presumably near Denfert-Rochereau), without going in.
Sequence 5 (17 shots):
montage of lions (Baptiste circling them on her mobylette):
montage of lions (Baptiste circling them on her mobylette):
- 11ème/12ème: lions of ‘Le triomphe de la Republique’ (Dalou), Place de la Nation
- 3ème: lions of the monument Place de la République
- 4ème: Jacquemart's lions at entrance of the Hôtel de Ville
Sequence 6 (1 shot):
14ème: Denfert Rochereau metro station: Marie on the bridge overlooking the station from the square.
14ème: Denfert Rochereau metro station: Marie on the bridge overlooking the station from the square.
Sequence 7 (27 shots):
14ème: Baptiste circling the Lion de Belfort, place Denfert-Rochereau, then has an accident in rue Froidevaux as Marie crosses her path.
14ème: Baptiste circling the Lion de Belfort, place Denfert-Rochereau, then has an accident in rue Froidevaux as Marie crosses her path.
Sequence 8 (5 shots):
- a: 14ème: square Jacques-Antoine, with the socle of the lost (in 1942) statue of Raspail behind her: Marie tries to call Julien from a telephone kiosk near a fontaine Wallace; she buys postcards of the Arc de Triomphe, then
- b: 19ème in the square Dampierre-Rouvet (very close to where she will die): she writes a postcard to ‘Mathias Doinel, hotel de la Santé, 42 rue de la Santé 14e’, i.e. the Prison de la Santé
Sequence 9 (5 shots):
14ème: Marie comes down the rue Sarrette and tries to post a card in letterbox of a shop, Franck Gef, bijoutier at n.109 avenue du General Leclerc; she stops Baptiste attacking a poster for Kurosawa’s Kagemusha (1980) – ‘kagemusha’ means ‘impersonator’.
14ème: Marie comes down the rue Sarrette and tries to post a card in letterbox of a shop, Franck Gef, bijoutier at n.109 avenue du General Leclerc; she stops Baptiste attacking a poster for Kurosawa’s Kagemusha (1980) – ‘kagemusha’ means ‘impersonator’.
Sequence 10 (20 shots):
14ème: 55 avenue René Coty; a large map of Paris on the wall (with lots of ‘Darty’ logos on it); stairs leading up to rue Saint Yves: Baptiste tries to stop children fighting over an album (Zenyatta Mondatta by The Police, 1980).
14ème: 55 avenue René Coty; a large map of Paris on the wall (with lots of ‘Darty’ logos on it); stairs leading up to rue Saint Yves: Baptiste tries to stop children fighting over an album (Zenyatta Mondatta by The Police, 1980).
Sequence 11 (17 shots):
9ème: rue de Bellefond, Baptiste walks across bridge over the rue Pierre Semard, comes down stairs. Marie is outside the Hotel Baudin, n.10. She asks Baptiste to enquire after Julien in the hotel. Max is reading newspapers at the café opposite.
9ème: rue de Bellefond, Baptiste walks across bridge over the rue Pierre Semard, comes down stairs. Marie is outside the Hotel Baudin, n.10. She asks Baptiste to enquire after Julien in the hotel. Max is reading newspapers at the café opposite.
Sequence 12 (30 shots):
9ème: rue Henri Monnier (place Gustave Toudouze), a fontaine Wallace, telephone kiosk: Baptiste & Marie.
9ème: rue Henri Monnier (place Gustave Toudouze), a fontaine Wallace, telephone kiosk: Baptiste & Marie.
Sequence 13 (4 shots):
7ème-16ème: passerelle Debilly across the Seine, Baptiste & Marie.
7ème-16ème: passerelle Debilly across the Seine, Baptiste & Marie.
Sequence 14 (5 shots):
13ème: rue Duméril, with stairs, Baptiste & Marie.
13ème: rue Duméril, with stairs, Baptiste & Marie.
Sequence 15 (40 shots):
16ème: Arc de Triomphe, ground, then: on top: Marie & Julien (Pierre Clémenti) – & Max, and then at ground level (Marie & Julien & Max & Baptiste ).
16ème: Arc de Triomphe, ground, then: on top: Marie & Julien (Pierre Clémenti) – & Max, and then at ground level (Marie & Julien & Max & Baptiste ).
Sequence 16 (12 shots):
16ème: Baptiste & Marie go up the passage des Eaux (narrow stairway) towards the rue Raynouard; insert: 2 shots of lion (from the place de la Nation, as in seq.5); then they go from the avenue Marcel Proust up the stairs of the avenue du Parc de Passy, towards the rue Raynouard (these two stairways are parallel, so their succession in the film isn’t logical).
16ème: Baptiste & Marie go up the passage des Eaux (narrow stairway) towards the rue Raynouard; insert: 2 shots of lion (from the place de la Nation, as in seq.5); then they go from the avenue Marcel Proust up the stairs of the avenue du Parc de Passy, towards the rue Raynouard (these two stairways are parallel, so their succession in the film isn’t logical).
‘Le deuxieme jour’ (36 minutes 27 seconds)
Sequence 17 (16 shots):
where?: park, stone bench in brick shelter. If the topography is coherent, this could be either the Arènes de Lutèce or the Jardin des Plantes, since Baptiste & Marie are in the place Monge in the next sequence.
where?: park, stone bench in brick shelter. If the topography is coherent, this could be either the Arènes de Lutèce or the Jardin des Plantes, since Baptiste & Marie are in the place Monge in the next sequence.
Sequence 18 (9 shots):
5ème: street market, place Monge. Ends with insert: 3 shots of la fontaine aux lions, place Félix Eboué, 12ème.
5ème: street market, place Monge. Ends with insert: 3 shots of la fontaine aux lions, place Félix Eboué, 12ème.
Sequence 19 (25 shots):
where?: park, wooded area, near street: Baptiste; Marie & Julien (seems to me like the Jardins du Ranelagh, 16ème).
where?: park, wooded area, near street: Baptiste; Marie & Julien (seems to me like the Jardins du Ranelagh, 16ème).
Sequence 20 (35 shots – check):
16e-15ème: pont de Bir-Hakeim; Baptiste & Marie with plan de Paris en jeu de l’oie: they are on the bench half way along the bridge, with the Eiffel Tower behind them (which we don’t see) and right next to them is Wederkinch’s equestrian statue of ‘La France renaissante’ (1930). Sequence ends with close up of the rider.
16e-15ème: pont de Bir-Hakeim; Baptiste & Marie with plan de Paris en jeu de l’oie: they are on the bench half way along the bridge, with the Eiffel Tower behind them (which we don’t see) and right next to them is Wederkinch’s equestrian statue of ‘La France renaissante’ (1930). Sequence ends with close up of the rider.
Sequence 21 (24 shots):
10ème: quai de Valmy, near Jaurès metro (by canal and métro aérien): Baptiste & Marie, then Marie & Julien (they go up stairs to the road from the quai); then Baptiste & Max.
10ème: quai de Valmy, near Jaurès metro (by canal and métro aérien): Baptiste & Marie, then Marie & Julien (they go up stairs to the road from the quai); then Baptiste & Max.
Sequence 22 (3 shots):
10ème: métro aérien: Baptiste & Marie, they get off one stop later, at Stalingrad – they sit in front of a poster for Silent Scream 1980 US (a Psycho-like slasher film).
10ème: métro aérien: Baptiste & Marie, they get off one stop later, at Stalingrad – they sit in front of a poster for Silent Scream 1980 US (a Psycho-like slasher film).
Sequence 23 (16 shots):
19ème: passerelle & passage à niveau de la rue d’Hautpoul; Baptiste & Marie walk along tracks that lead to the Petite Ceinture; insert of panorama over Paris (from the Arc de Triomphe, looking eastwards along avenue de Friedland and panning right); wasteland with tracks, then they are near the pont de la rue de Crimée, by les Buttes Chaumont, under which the PC runs.
19ème: passerelle & passage à niveau de la rue d’Hautpoul; Baptiste & Marie walk along tracks that lead to the Petite Ceinture; insert of panorama over Paris (from the Arc de Triomphe, looking eastwards along avenue de Friedland and panning right); wasteland with tracks, then they are near the pont de la rue de Crimée, by les Buttes Chaumont, under which the PC runs.
Sequence 24 (28 shots):
19ème: cimetière des juifs portugais, 44 avenue de Flandres (‘no. 58’, as in the jeu de l’oie): they find the ‘Max au couteau’ dead, wearing a wig, and find the blue jeu de l’oie, with the Greek characters.
19ème: cimetière des juifs portugais, 44 avenue de Flandres (‘no. 58’, as in the jeu de l’oie): they find the ‘Max au couteau’ dead, wearing a wig, and find the blue jeu de l’oie, with the Greek characters.
Sequence 25 (8 shots):
3ème: street at night, cinema, showing Les Grands Espaces (Wyler’s The Big Country, 1959); the Dejazet, 41 bvd du Temple; Max; insert: lion from the nearby place de la République.
title: ‘Le troisième jour’ (1 hour 9 minutes 39 seconds)
Then the same cinema, the next day now playing Clouzot’s La Prisonniere (1968): Baptiste & Marie slept in the cinema.
3ème: street at night, cinema, showing Les Grands Espaces (Wyler’s The Big Country, 1959); the Dejazet, 41 bvd du Temple; Max; insert: lion from the nearby place de la République.
title: ‘Le troisième jour’ (1 hour 9 minutes 39 seconds)
Then the same cinema, the next day now playing Clouzot’s La Prisonniere (1968): Baptiste & Marie slept in the cinema.
Sequence 26 (29 shots):
3ème: le carreau du Temple, rue Perrée. Baptiste & Marie examine the jeu de l’oie.
3ème: le carreau du Temple, rue Perrée. Baptiste & Marie examine the jeu de l’oie.
Sequence 27 (30 shots):
10ème: by the canal Saint Martin, quai de Jemmapes (‘no.42’ in the jeu): I don’t know what is being demolished, but on this site stood the gibet of Montfaucon until 1760 (though the last hanging there was in 1629); Baptiste & Marie, & Max & the Max au manteau.
10ème: by the canal Saint Martin, quai de Jemmapes (‘no.42’ in the jeu): I don’t know what is being demolished, but on this site stood the gibet of Montfaucon until 1760 (though the last hanging there was in 1629); Baptiste & Marie, & Max & the Max au manteau.
Sequence 28 (18 shots):
12ème: wine depot at Bercy, yard with barrels: Marie & Julien (at the address given by Max: the junction of the rue du Port de Bercy & the rue de Nuits).
12ème: wine depot at Bercy, yard with barrels: Marie & Julien (at the address given by Max: the junction of the rue du Port de Bercy & the rue de Nuits).
Sequence 29:
12ème: Auberge de la Pomme d’Or. Baptiste & Marie.
Paris perdu: quarante ans de bouleversements de la ville by Comby, Eveno, de Mezamat, p.218: ‘Ancienne caserne des pompiers de la commune de Bercy, annexé à la ville en 1859 et rebaptisé par la suite “auberge de la pomme d’or”.C'est autour de ce décor que fut tourné le film d'Ettore Scola La Nuit de Varennes. Le bâtiment a été finalement démoli en juin 1989 pour la construction prochaine du nouveau Centre culturel américain.’ (This is now the Cinémathèque française.)
12ème: Auberge de la Pomme d’Or. Baptiste & Marie.
Paris perdu: quarante ans de bouleversements de la ville by Comby, Eveno, de Mezamat, p.218: ‘Ancienne caserne des pompiers de la commune de Bercy, annexé à la ville en 1859 et rebaptisé par la suite “auberge de la pomme d’or”.C'est autour de ce décor que fut tourné le film d'Ettore Scola La Nuit de Varennes. Le bâtiment a été finalement démoli en juin 1989 pour la construction prochaine du nouveau Centre culturel américain.’ (This is now the Cinémathèque française.)
Sequence 30 (41 shots):
15ème: demolition site with clock tower: abattoirs de Vaugirard (now the parc Georges Brassens), then, on the Petite ceinture, the quai des abattoirs (Baptiste attacked by ‘le Max au manteau’).
15ème: demolition site with clock tower: abattoirs de Vaugirard (now the parc Georges Brassens), then, on the Petite ceinture, the quai des abattoirs (Baptiste attacked by ‘le Max au manteau’).
Sequence 31 (14 shots):
15e:Baptiste & Marie walk along the Petite Ceinture, eastwards from the quais des abattoirs (having passed under the rue Brancion bridge, heading towards rue Jacques Baudry bridge).
15e:Baptiste & Marie walk along the Petite Ceinture, eastwards from the quais des abattoirs (having passed under the rue Brancion bridge, heading towards rue Jacques Baudry bridge).
Sequence 32 (4 shots):
where?: Baptiste & Marie street at night (a plan-séquence).
title: ‘Le quatrième jour’ (1 hour 44 minutes)
Same street the next day: Baptiste & Marie slept in a car.
where?: Baptiste & Marie street at night (a plan-séquence).
title: ‘Le quatrième jour’ (1 hour 44 minutes)
Same street the next day: Baptiste & Marie slept in a car.
Sequence 33 (61 shots):
19ème: Baptiste & Marie on the first bridge after the junction of the Canal de l’Ourcq and the Canal Saint Denis, going towards Pantin; Baptiste goes to defeat the toboggan dragon du parc de la Villette, Marie goes to try to make a phone call; Baptiste rejoins Marie, and eventually shoots the Hungarian who had been using the telephone (whom she thinks is a Max).
19ème: Baptiste & Marie on the first bridge after the junction of the Canal de l’Ourcq and the Canal Saint Denis, going towards Pantin; Baptiste goes to defeat the toboggan dragon du parc de la Villette, Marie goes to try to make a phone call; Baptiste rejoins Marie, and eventually shoots the Hungarian who had been using the telephone (whom she thinks is a Max).
Sequence 34 (5 shots):
19ème: Marie and Baptiste on the ‘Grande écluse’ in the Canal St Denis; Marie goes to meet Julien, ‘quai de l’Oise, dans le tournant’, Max confronts Baptiste.
19ème: Marie and Baptiste on the ‘Grande écluse’ in the Canal St Denis; Marie goes to meet Julien, ‘quai de l’Oise, dans le tournant’, Max confronts Baptiste.
Sequence 35 (5 shots):
19ème: Marie waits for and meets Julien; Julien kills Marie near café Le Debarcadère (now ‘Le Doux Rivage’, 41 quai de l’Oise).
19ème: Marie waits for and meets Julien; Julien kills Marie near café Le Debarcadère (now ‘Le Doux Rivage’, 41 quai de l’Oise).
Sequence 36 (7 shots (3 shots with the grid over the lens)):
19ème: Baptiste fights with Max on on the second bridge after the junction of the Canal de l’Ourcq and the Canal Saint Denis, the ‘Pont des Abattoirs’. This bridge is now gone, but crossed the canal de l’Ourcq just before a rail bridge carrying the branch line to the abattoirs, after which was the bridge carrying the boulevard Macdonald (n.b. not the bridge in the Varda film).
19ème: Baptiste fights with Max on on the second bridge after the junction of the Canal de l’Ourcq and the Canal Saint Denis, the ‘Pont des Abattoirs’. This bridge is now gone, but crossed the canal de l’Ourcq just before a rail bridge carrying the branch line to the abattoirs, after which was the bridge carrying the boulevard Macdonald (n.b. not the bridge in the Varda film).
(credits)
