Set for Raymond Bernard's Wooden Crosses to be the French film from 1932 to view tonight,I found myself with a bit more free time than expected. Tracking down the Criterion edition a few days ago after trying for ages to get English Subs from online to work for an older transfer, I got set to play the longest 1932 French title left to watch.
View on the film:
For the second film in the trilogy, Criterion present a terrific transfer, with the clean image allowing for the silk Melodrama to be fully sighted,and the soundtrack to crispy play.
Originating on stage,director Marc Allegret & cinematographer Nikolai Toporkoff keep the film tied round the theatrical roots, via long, stilted takes giving the cast (many of whom had played the roles on stage) large breathing space to form their performances. Transitioning to Marius's not having been part of Fanny's life for years, Allegret sows a smooth Melodrama atmosphere in the second half,as long, gliding shots look out to sea with Fanny, and striking close-ups bring the final discussion on fatherhood to a precise,reverberating note.Bringing his own show to the screen, Marcel Pagnol decision to stay true to the roots of the tale in his adaptation pulls the first half of the movie down,due to the simple Melodrama outline (guy leaves girl to join Navy, girl finds she is pregnant, girl gets married to friendly older man to avoid being scorned by society) being tugged by a repetitiveness which keeps hitting the same dragged-out point over and over again.
Whilst containing some marks in being part of a trilogy, Pagnol impressively makes this entry be one that can be enjoyed on its own term, as the return Marius in the second half brings a playfulness which makes the Melodrama flow, as Fanny sights a ghost from the past, and Marius's own dad Cesar expressing in wonderful poetic dialogue why Panisse is the true father of Marius's child. Reuniting after part 1 Marius (1931) in the series, Raimu,Pierre Fresnay, Fernand Charpin and Orane Demazis give superb ensemble performances, from Fresnay's short-fuse Melodrama lover Marius and Fernand Charpin considerate, understanding Panisse , all being capped by Raimu subtly shifting Cesar from anger to quiet compassion,whilst Demazis owns the title role,by not only carrying a child, but the troubles of the world on the shoulders of Fanny.
View on the film:
For the second film in the trilogy, Criterion present a terrific transfer, with the clean image allowing for the silk Melodrama to be fully sighted,and the soundtrack to crispy play.
Originating on stage,director Marc Allegret & cinematographer Nikolai Toporkoff keep the film tied round the theatrical roots, via long, stilted takes giving the cast (many of whom had played the roles on stage) large breathing space to form their performances. Transitioning to Marius's not having been part of Fanny's life for years, Allegret sows a smooth Melodrama atmosphere in the second half,as long, gliding shots look out to sea with Fanny, and striking close-ups bring the final discussion on fatherhood to a precise,reverberating note.Bringing his own show to the screen, Marcel Pagnol decision to stay true to the roots of the tale in his adaptation pulls the first half of the movie down,due to the simple Melodrama outline (guy leaves girl to join Navy, girl finds she is pregnant, girl gets married to friendly older man to avoid being scorned by society) being tugged by a repetitiveness which keeps hitting the same dragged-out point over and over again.
Whilst containing some marks in being part of a trilogy, Pagnol impressively makes this entry be one that can be enjoyed on its own term, as the return Marius in the second half brings a playfulness which makes the Melodrama flow, as Fanny sights a ghost from the past, and Marius's own dad Cesar expressing in wonderful poetic dialogue why Panisse is the true father of Marius's child. Reuniting after part 1 Marius (1931) in the series, Raimu,Pierre Fresnay, Fernand Charpin and Orane Demazis give superb ensemble performances, from Fresnay's short-fuse Melodrama lover Marius and Fernand Charpin considerate, understanding Panisse , all being capped by Raimu subtly shifting Cesar from anger to quiet compassion,whilst Demazis owns the title role,by not only carrying a child, but the troubles of the world on the shoulders of Fanny.