Partir (1931) Review: Theater Drama and Fugitive Nerves

If you're the type of person who needs 4K visuals or a plot that moves at a hundred miles an hour, you should probably just skip this one. But if you have a soft spot for those early 1930s French films where the sound is a bit fuzzy and everyone looks like they just stepped out of a very smoky cafe, Partir is worth a look.

It’s a movie for people who like to watch actors playing actors. It's also for anyone who has ever felt that weird, tight knot of jealousy that makes you want to ruin a good thing just so no one else can have it.

The story follows Jacques Largy, played by Jean Marchat, who is basically a man on the run. He’s committed some kind of crime—the movie doesn't spend a ton of time on the gritty details of the law—and he ends up joining a traveling acting troupe to hide in plain sight.

His friend Florence is already in the troupe, which is his way in. Nicole Martel plays her with this sort of tired elegance that I really liked.

The whole thing feels very claustrophobic. Most of the movie happens in these cramped backstage areas or dimly lit rooms where people are constantly whispering.

There is a lot of shouting too. Early sound films always have someone shouting for no reason, maybe just to make sure the microphones were actually working back then.

The conflict kicks in when the troupe gets a chance to go to Colombo. For some reason, Jacques absolutely loses it at the idea of her going away or them leaving his safe bubble.

It’s a very specific kind of male insecurity that feels pretty modern, even if the movie is almost a century old. He’s a fugitive, sure, but his real problem is his own head. 🎭

I found myself staring at the background extras a lot. In one scene, there’s a guy in the back of the theater who looks like he’s genuinely bored out of his mind, just leaning against a wall while the main drama happens.

It made me think of A Man's Past, which also deals with that heavy feeling of a secret hanging over someone's head. But where that movie feels a bit more formal, Partir feels like a messy rehearsal that someone decided to film.

Raymond Cordy is in this too. He has one of those faces that just makes you feel better whenever he shows up on screen.

He brings a bit of much-needed lightness to the whole thing. Without him, the movie would probably be too gloomy to finish.

The writer, Roland Dorgelès, clearly knew how to write people who are a bit broken. The dialogue doesn't always feel like poetry; sometimes it just feels like people arguing in a hallway.

I noticed the makeup on the actors is incredibly heavy. In the close-ups, you can see the thick layers of greasepaint, which makes the "theater" setting feel even more real and kind of gross.

There is one shot of a train—or maybe it's just the sound of a train—that goes on for way too long. I think they were just proud that they could sync the sound of the whistle with the image.

The ending isn't exactly what I’d call a shocker, but it fits the mood. It doesn't try to wrap everything up in a neat little bow with a happy song.

It’s a bit like Sealed Lips in the way it handles secrets, though the vibe here is much more theatrical. Jacques is a guy who just can't get out of his own way.

Is it a masterpiece? No, probably not. The pacing is weird and some of the side characters just disappear for thirty minutes at a time.

But there’s something about the way it captures that 1931 atmosphere. You can almost smell the dust on the stage curtains.

I wouldn't watch it if you're feeling sleepy. It requires a bit of patience to get through the slower middle section where they just talk about the trip to Colombo over and over.

Honestly, I still don't fully understand why Colombo was such a big deal to them, but the movie really tries to convince you it's the center of the universe.

The cinematography is mostly just... there. It’s functional. It doesn't try to be fancy, which I actually appreciated.

I did like the way they handled the shadows in the final act. It made Jacques look smaller and more desperate as the walls started closing in.

Anyway, it's a solid choice if you're doing a deep dive into early French cinema. Just don't expect a high-speed chase or anything like that. 🚂

It’s just a movie about a guy who did a bad thing and then did a bunch of stupid things because he was jealous. Which, let’s be honest, is most people.

Things I noticed:

• The hats. Everyone has a very specific hat for every mood.
• The way the music just cuts out sometimes is very jarring.
• Nicole Martel has these eyes that look like she hasn't slept in three years.
• The theater manager character is unintentionally hilarious with how much he worries about his schedules.

If you've seen things like The Whipping Boss, you know how these older dramas can sometimes feel a bit stiff. Partir is a little looser than that, which makes it easier to watch.

It’s not going to change your life. But for an hour and a half, it’s a pretty interesting trip back in time to a very specific, very dramatic world.