It was not the first time an Arthur Miller play had been first filmed in France : in 1956,Raymond Rouleau transferred "the crucible " (as Les Sorcières De Salem " ) starring Yves Montand ,Simone Signoret and Mylène Demongeot)to the screen .
Not only Lumet directed this first filmed version,but the very same year ,he also made "long day's journey into the night" by O'Neill,which outstripped the previous effort.Most amazing thing,this film is not mentioned in the "Dictionnaire Des Films " even in its updated version ,which is almost incredible when you know this French-Italian co-production features two French actors :Raymond Pellegrin as Marco and Jean Sorel as Rodolpho ;the former was one of our very best actors over here ,particularly in Films NOirs ,and he succeeds in not being completely overshadowed by Raf Vallone's Oscar caliber performance :he gives a restrained but effective portrayal of Marco,the poor wop with three children who is sure that there will not be "extra " kids when he returns ;he shines in the famous "chair lifting" scene which ends act one in the play and which sounds like a declaration of war .I was more doubtful as to Jean Sorel's ability :but I must admit he is quite acceptable as romantic Rodolpho ,although not in the same league as the two other male actors.Both should have an Italian accent,but a French cannot be fooled by their accent:anyway ,English is a convention:when the "submarines" arrive,it's obvious they speak Italian between them:how could these very poor people ,who " push the carriages up to the hotel' ,have learned the English language ?As for their arrival,Eddie welcomes them in the boat ,a scene not from the play.
SPOILER Arthur Miller"s play was faithfully respected ,except for the ending which was sweetened a little (in the play ,Marco did kill Eddie) and given a spectacular treatment (the two men fight with meat hooks)
Raf Vallone gives a lifetime performance: he is really a Greek tragedian ,and the viewer sees him going from a good husband (though not interested in his wife anymore) to a jealous man who spy on his niece and her new beau ,then turns into a beast :the scene when he catches in the act the two lovers sees him going to a peak of violence ,of hatred ,and of frustrated desire :he kisses Rodolpho on the mouth;he does not consider him a man :someone who likes singing,dancing ,and making dresses should not work on the waterfront ,he 's effeminate ,a paper doll ,as in the record they play, or something worse best left unsaid.
The lawyer who tells us the story in the play ,and who intervenes here ,knows from the start that he and his law (and even God's law) can do nothing against Eddie's fate which is sealed when the story begins ;he plays the part of the Greek chorus.His last words,however ,given the slightly different denouement,has not the strength it had in Miller's words:"and so I mourn him-I admit it - with a certain .....alarm."
Not only Lumet directed this first filmed version,but the very same year ,he also made "long day's journey into the night" by O'Neill,which outstripped the previous effort.Most amazing thing,this film is not mentioned in the "Dictionnaire Des Films " even in its updated version ,which is almost incredible when you know this French-Italian co-production features two French actors :Raymond Pellegrin as Marco and Jean Sorel as Rodolpho ;the former was one of our very best actors over here ,particularly in Films NOirs ,and he succeeds in not being completely overshadowed by Raf Vallone's Oscar caliber performance :he gives a restrained but effective portrayal of Marco,the poor wop with three children who is sure that there will not be "extra " kids when he returns ;he shines in the famous "chair lifting" scene which ends act one in the play and which sounds like a declaration of war .I was more doubtful as to Jean Sorel's ability :but I must admit he is quite acceptable as romantic Rodolpho ,although not in the same league as the two other male actors.Both should have an Italian accent,but a French cannot be fooled by their accent:anyway ,English is a convention:when the "submarines" arrive,it's obvious they speak Italian between them:how could these very poor people ,who " push the carriages up to the hotel' ,have learned the English language ?As for their arrival,Eddie welcomes them in the boat ,a scene not from the play.
SPOILER Arthur Miller"s play was faithfully respected ,except for the ending which was sweetened a little (in the play ,Marco did kill Eddie) and given a spectacular treatment (the two men fight with meat hooks)
Raf Vallone gives a lifetime performance: he is really a Greek tragedian ,and the viewer sees him going from a good husband (though not interested in his wife anymore) to a jealous man who spy on his niece and her new beau ,then turns into a beast :the scene when he catches in the act the two lovers sees him going to a peak of violence ,of hatred ,and of frustrated desire :he kisses Rodolpho on the mouth;he does not consider him a man :someone who likes singing,dancing ,and making dresses should not work on the waterfront ,he 's effeminate ,a paper doll ,as in the record they play, or something worse best left unsaid.
The lawyer who tells us the story in the play ,and who intervenes here ,knows from the start that he and his law (and even God's law) can do nothing against Eddie's fate which is sealed when the story begins ;he plays the part of the Greek chorus.His last words,however ,given the slightly different denouement,has not the strength it had in Miller's words:"and so I mourn him-I admit it - with a certain .....alarm."