Balzac's 'La Comedie Humaine' is a monumental, unrivalled chronicle of French society from the 1790's to the 1830's and contains over two thousand characters.
In 1834 appeared 'La Duchesse de Langeais' which forms part of the trilogy 'Les Treize'.
Allegedly based upon the Duchess of Castries with whom Balzac had a failed affair Antoinette de Langeais is one of his greatest creations and ranks alongside Sanseverina in 'The Charterhouse of Parma' by Stendahl and the Princess of Cleves by Comtesse de La Fayette.
This particular adaptation is by playwright Jean Giradoux who has been pretty faithful to the original. The ending is changed however and the element of Freemasonry has gone.
Director Baroncelli is very fortunate here to have the services of Edwige Feuiliere in the title role, an artiste of extraordinary depth, elegance and grace.
Anyone who saw her on stage is indeed privileged.
Playing Armand de Contriveau is Pierre Richard Willm. He convinces as a proud, arrogant blockhead who realises too late the treasure he has lost.
Excellent support also from Aimee Clariond and Charles Granval.
Such a pity that a proposed film with Greta Garbo as the Duchess to be directed by Max Ophuls never came to fruition.
At least here we have Mlle Feuillere's magnificent performance immortalised on film for which we should be truly thankful.
The Princess Beaumont-Chauvry here is Catherine Fontenay. Over fifty years on Edwige Feuilliere was to come full circle by playing this role in a television production.
4 Reviews
My Last Duchess ...
writers_reign9 April 2008
Warning: Spoilers
... wasn't a patch on this one but neither was it the Browning version. Edwige Feuilliere in one of those fine French actresses difficult - at least in my case - to track down, though I did manage to acquire Le Ble en herbe, one of her finest accomplishments, and Mam'zelle Bonaparte - the one she made immediately before this - about which the less said the better. Here she is on top of her game as a romantic trapped in a boring marriage, longing for a soul-mate but not recognizing him when he turns up in fact if this were a farce the misunderstanding that pile up around her would be funny, as it is they are merely sad. Balzac wrote the original short story and Jean Giradoux adapted it for the screen thus ensuring that Feuilliere is given highly speakable dialogue. It all ends in tears, of course, but the journey itself is impressive.
Duchess story
dbdumonteil23 March 2008
Warning: Spoilers
What about Langeais?It's a small town in Touraine,with a beautiful bridge and a famous medieval castle ;Saché,Balzac's village, was not far from Langeais.
Still with me?all I wrote above has no connection with the film ,no connection at all."La Duchesse de Langeais" is a slow-moving movie,which may repel you in its first third.But it grows on you.Based on one of Balzac's short stories,it depicts a series of misunderstandings.
Montriveau falls in love with the Duchess of Langeais,a socialite lost in the whirl of pleasures of the Parisian aristocracy.Her husband -present only in one scene- does not love her anymore.But she wants her relationship with Montriveau to remain platonic .He cannot understand the lady is romantic ,she dreams of something pure .This is the first misunderstanding.
Ronquerolles,Montriveau's best friend thinks ,like many of their mutual friends ,that the drama is impending .He uses subterfuge to separate the duchess and her suitor;second misunderstanding.
After being humiliated near Neuilly ,where a prostitute is waiting for him instead of his love,Montriveau does not seem to care anymore.And now the duchess is desperately in love with him and it's her now who is longing for his love.When he understands ,it will be too late;third misunderstanding.
Then there's an extravagant epilogue in a convent where the two lovers meet again.Like her cousin before her,the duchess has taken refuge in a Spanish nunnery.In an ending which Douglas Sirk would not disown,the duchess dies as the monks are lighting a light to accompany her soul which flies away to Heaven.
That was Edwige Feuillere's Volte Face ,after the disastrous "Mam'zelle Bonaparte" by Maurice Tourneur the year before.Teaming up with Pierre Richard- Willm ,she finds here one of her best parts.As both were Max Ophuls ' actors,we have often the feeling we are watching a movie by the director of "Sans Lendemain' or " Le Roman de Werther" .Actually ,the director is De Baroncelli,whose specialty is melodrama ("Les Mysteres de Paris" ).In "La Duchesse de Langeais" ,considered his best work,he transcends the genre and reaches tragedy.The dialog is unusually poetic and flowery:the lines were written by Jean Giraudoux whose work helped the film rise above the (often high) level of the movies from the Occupation.
Just one word about the historical context :the film takes place during the Restoration, Louis XVIII appears in one scene,a character alludes to the death of Napoleon,and in a conversation ,the duchess' uncle mentions Lamartine -par excellence the romantic poet,but also an activist ,a politician fighting for the return of the Republic ,but this is passed over in silence - ,Delacroix (ditto for the painter:one of his pictures is "La Liberté Guidant le Peuple" = Freedom guiding the people)and Chopin.
This is essential viewing for anyone interested in the evolution of the French cinema.
Who needed a remake by Rivette? Who?
Still with me?all I wrote above has no connection with the film ,no connection at all."La Duchesse de Langeais" is a slow-moving movie,which may repel you in its first third.But it grows on you.Based on one of Balzac's short stories,it depicts a series of misunderstandings.
Montriveau falls in love with the Duchess of Langeais,a socialite lost in the whirl of pleasures of the Parisian aristocracy.Her husband -present only in one scene- does not love her anymore.But she wants her relationship with Montriveau to remain platonic .He cannot understand the lady is romantic ,she dreams of something pure .This is the first misunderstanding.
Ronquerolles,Montriveau's best friend thinks ,like many of their mutual friends ,that the drama is impending .He uses subterfuge to separate the duchess and her suitor;second misunderstanding.
After being humiliated near Neuilly ,where a prostitute is waiting for him instead of his love,Montriveau does not seem to care anymore.And now the duchess is desperately in love with him and it's her now who is longing for his love.When he understands ,it will be too late;third misunderstanding.
Then there's an extravagant epilogue in a convent where the two lovers meet again.Like her cousin before her,the duchess has taken refuge in a Spanish nunnery.In an ending which Douglas Sirk would not disown,the duchess dies as the monks are lighting a light to accompany her soul which flies away to Heaven.
That was Edwige Feuillere's Volte Face ,after the disastrous "Mam'zelle Bonaparte" by Maurice Tourneur the year before.Teaming up with Pierre Richard- Willm ,she finds here one of her best parts.As both were Max Ophuls ' actors,we have often the feeling we are watching a movie by the director of "Sans Lendemain' or " Le Roman de Werther" .Actually ,the director is De Baroncelli,whose specialty is melodrama ("Les Mysteres de Paris" ).In "La Duchesse de Langeais" ,considered his best work,he transcends the genre and reaches tragedy.The dialog is unusually poetic and flowery:the lines were written by Jean Giraudoux whose work helped the film rise above the (often high) level of the movies from the Occupation.
Just one word about the historical context :the film takes place during the Restoration, Louis XVIII appears in one scene,a character alludes to the death of Napoleon,and in a conversation ,the duchess' uncle mentions Lamartine -par excellence the romantic poet,but also an activist ,a politician fighting for the return of the Republic ,but this is passed over in silence - ,Delacroix (ditto for the painter:one of his pictures is "La Liberté Guidant le Peuple" = Freedom guiding the people)and Chopin.
This is essential viewing for anyone interested in the evolution of the French cinema.
Who needed a remake by Rivette? Who?
The very height of French romanticism: The Princess and the Bull
benoit-39 January 2010
The novella this film was based on was written by Balzac in the 1830s as part of a group of novels detailing the adventures of a secret society of 13 men ("Les Treize"), of whom Armand is a member. This slightly sinister society was bent on acquiring power at all cost and by all means. It can be understood that Armand's forceful quest to conquer Antoinette is part of that fascistic scheme. Armand is a general who was ennobled by Napoleon for his military exploits whereas Antoinette is an "Ancien Régime" aristocrat, like the French Queen she was named after.
Armand resents Antoinette as much as he "loves" her because (1) she is "just a woman", (2) she thinks she is somewhat superior to him socially, (3) she refuses his advances and (4) she is highly desirable socially as well as sexually. Balzac also portrayed Antoinette as a caricature of a real-life socialite, the Duchesse de Castries, who had spurned his attentions. For all these reasons, it is permitted to concede that he was not altogether "sincere" in his depiction of an idealized, spiritual love, of which he probably knew nothing and was only serving his (female) public the usual clichés of Romantic literature which had been floating around the literary world since at least Jean-Jacques Rousseau, while simultaneously serving a warning that the penalty for refusing the conquering Napoleonic penis is death. Antoinette is, after all, a "castrating" coquette who deserves the "axe" that rids the world of aristocrats of her kind. It is rather telling that Antoinette's public humiliation by her would-be lover was borrowed almost unchanged for inclusion in Alexandre Dumas fils' "La Dame aux camélias", where the heroine is a woman kept by an Ancien Régime aristocrat and her young would-be lover is a commoner.
What XXth Century playwright Jean Giraudoux did with this unsavoury hodge-podge is something else entirely. While remaining faithful to the sequence of events – including the very much contrived central plot point of a maliciously-substituted letter, Giraudoux makes his characters utter speeches that still resonate with contemporary audiences about the nature of love, fidelity, possession, domination, sex, idealism and transcendence. Antoinette, before dying in a spiritual blaze, in the Spanish convent to which she has retired rather than being humiliated further, discovers another facet of love - self-sacrifice - that women know about when men seldom do. This "Duchesse de Langeais" can be seen as the prequel to Giraudoux's "Madwoman of Chaillot", whose 1968 film adaptation is arguably the last "serious" film on the subject of love of the XXth century.
Giraudoux's dialog is rendered by the very best of France's stage talent, including Edwige Feuillère, whose aristocratic presence and Parisian "chuintement" could only be rivalled later by Michèle Morgan, who also would have been a natural for the role (and played Marie Antoinette on screen). Greta Garbo supposedly considered this script a proper vehicle for a comeback in 1947 with James Mason as Armand. The project never materialized.
The highly improbable subject of this film allowed it to escape censorship under Nazi occupation – although aspects of Armand's and Antoinette's husband's character can be seen as "fascistic" and Antoinette's "resistance" to those fascist forces "heroic". It remains, like the novella itself, and in spite of itself, the epitome of the depiction of Romantic love as an otherworldly concept rooted in human sexuality.
The film is an impressive accomplishment in terms of sets, costumes, art and musical direction, photography, writing, acting and direction. It has stood the test of time, although a more realistic and contemporary depiction of the same themes can be found in René Clair's 1956 comedy "Les Grandes Manoeuvres" ("Summer Manoeuvres", starring Michèle Morgan and Gérard Philipe, about an exiled, divorced Parisienne with every thing to loose resisting the advances of a small-town womanizing Army lieutenant, http://www.imdb.com/title/tt0048133/ ; YouTube trailer: http://www.youtube.com/watch?v=-2nws90svK4 ; Alternate ending similar to the "Duchesse de Langeais" : http://www.youtube.com/watch?v=W5lvkSypYS4).
"La Duchesse de Langeais" is probably not available in any commercial medium. I saw it on Ontario's French TV channel TFO last Thursday, in a sufficiently well-preserved copy.
Those of you who have the stomach to tackle a more faithful - but terminally boring - adaptation of Balzac's rather carnal, sado-masochistic and class-conscious original may want to see "Ne touchez pas la hache" (Don't touch the axe - Balzac's original title), which Jacques Rivette directed in 2007. Trailer: http://www.youtube.com/watch?v=tG0TPBO1qrI
"La Duchesse de Langeais" is also the title of a 1973 play by Québec playwright Michel Tremblay about an aging cultured and conservative French-Canadian drag queen bent on settling accounts with younger upstarts.
YouTube excerpt of the 1942 film: http://www.youtube.com/watch?v=AkGRuthN8I4
Armand resents Antoinette as much as he "loves" her because (1) she is "just a woman", (2) she thinks she is somewhat superior to him socially, (3) she refuses his advances and (4) she is highly desirable socially as well as sexually. Balzac also portrayed Antoinette as a caricature of a real-life socialite, the Duchesse de Castries, who had spurned his attentions. For all these reasons, it is permitted to concede that he was not altogether "sincere" in his depiction of an idealized, spiritual love, of which he probably knew nothing and was only serving his (female) public the usual clichés of Romantic literature which had been floating around the literary world since at least Jean-Jacques Rousseau, while simultaneously serving a warning that the penalty for refusing the conquering Napoleonic penis is death. Antoinette is, after all, a "castrating" coquette who deserves the "axe" that rids the world of aristocrats of her kind. It is rather telling that Antoinette's public humiliation by her would-be lover was borrowed almost unchanged for inclusion in Alexandre Dumas fils' "La Dame aux camélias", where the heroine is a woman kept by an Ancien Régime aristocrat and her young would-be lover is a commoner.
What XXth Century playwright Jean Giraudoux did with this unsavoury hodge-podge is something else entirely. While remaining faithful to the sequence of events – including the very much contrived central plot point of a maliciously-substituted letter, Giraudoux makes his characters utter speeches that still resonate with contemporary audiences about the nature of love, fidelity, possession, domination, sex, idealism and transcendence. Antoinette, before dying in a spiritual blaze, in the Spanish convent to which she has retired rather than being humiliated further, discovers another facet of love - self-sacrifice - that women know about when men seldom do. This "Duchesse de Langeais" can be seen as the prequel to Giraudoux's "Madwoman of Chaillot", whose 1968 film adaptation is arguably the last "serious" film on the subject of love of the XXth century.
Giraudoux's dialog is rendered by the very best of France's stage talent, including Edwige Feuillère, whose aristocratic presence and Parisian "chuintement" could only be rivalled later by Michèle Morgan, who also would have been a natural for the role (and played Marie Antoinette on screen). Greta Garbo supposedly considered this script a proper vehicle for a comeback in 1947 with James Mason as Armand. The project never materialized.
The highly improbable subject of this film allowed it to escape censorship under Nazi occupation – although aspects of Armand's and Antoinette's husband's character can be seen as "fascistic" and Antoinette's "resistance" to those fascist forces "heroic". It remains, like the novella itself, and in spite of itself, the epitome of the depiction of Romantic love as an otherworldly concept rooted in human sexuality.
The film is an impressive accomplishment in terms of sets, costumes, art and musical direction, photography, writing, acting and direction. It has stood the test of time, although a more realistic and contemporary depiction of the same themes can be found in René Clair's 1956 comedy "Les Grandes Manoeuvres" ("Summer Manoeuvres", starring Michèle Morgan and Gérard Philipe, about an exiled, divorced Parisienne with every thing to loose resisting the advances of a small-town womanizing Army lieutenant, http://www.imdb.com/title/tt0048133/ ; YouTube trailer: http://www.youtube.com/watch?v=-2nws90svK4 ; Alternate ending similar to the "Duchesse de Langeais" : http://www.youtube.com/watch?v=W5lvkSypYS4).
"La Duchesse de Langeais" is probably not available in any commercial medium. I saw it on Ontario's French TV channel TFO last Thursday, in a sufficiently well-preserved copy.
Those of you who have the stomach to tackle a more faithful - but terminally boring - adaptation of Balzac's rather carnal, sado-masochistic and class-conscious original may want to see "Ne touchez pas la hache" (Don't touch the axe - Balzac's original title), which Jacques Rivette directed in 2007. Trailer: http://www.youtube.com/watch?v=tG0TPBO1qrI
"La Duchesse de Langeais" is also the title of a 1973 play by Québec playwright Michel Tremblay about an aging cultured and conservative French-Canadian drag queen bent on settling accounts with younger upstarts.
YouTube excerpt of the 1942 film: http://www.youtube.com/watch?v=AkGRuthN8I4
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