As François, Gabin is able to emote without uttering a word, to discover and transfer a sensitivity and passion for feelings that he communicates outside the usual acting techniques of the time. He is Dean, Clift and Brando before all of them, a fact that is often overlooked when acting revolutions are talked up. One of the key elements of Carné's Le Jour Se Lève is its perverse joy in not explaining anything, or more interestingly how little we are told about the motivations of François. The murder he commits is a reaction against 'talk' - the folly of a deluded masculinity that always ends badly for someone. There's no decision, only an instant of action that leaves François alone in a room apart from his guilt and shame, warping his existential threat towards a dreamlike reverie. Our man will be defined by mistakes which he will play over and again as he waits for his fate to be revealed to him. The final shot is a killer: a slow fade out on François, no parting words: half Antoine Roquentin and half Rodion Raskolnikov.