Song from Jules and Jim

This song has stuck in head. It’s one of Catherine’s better moments, but then this woman shines when she’s got the full attention of three men.

(The film never shows her with other women. I don’t think she can be anything other than the queen bee.)

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Jules and Jim

Truffaut’s Jules and Jim is rightly considered a classic. Based on an autobiographical  novel by Henri-Pierre Roché, the story focuses on two young men, with a deep friendship. Jules is Austrian and lives in Paris, while Jim is French. They share a way of looking at the world. Both are looking for love in 1912. When they meet Catherine, who resembles a sculpture which they view as the paragon of female beauty, they’re both struck by her spirit and openness. Jim agrees to let Jules court and marry her.

The three make a carefree group, but you just know that this arrangement won’t last forever. Catherine is capricious but didn’t fascinate me the way she did all the men who fall for her. She has no job and no interests. She’s pretty and open to life. Her spirit can be summed up when after viewing a play, they’re discussing the heroine, as Jules and Jim debate, Catherine illustrates her view of the role of women by jumping in the Seine. Fully clothed, Jim jumps in and fishes her out.

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Soon WWI breaks out and Jules and Jim fight on opposing sides, both fearing that they may shoot the other. Catherine is back at home in Germany caring for her daughter and receiving beautiful love letters from Jules. In addition to being enigmatic, Catherine struck me as a taker. There’s no mention of her writing great letters to Jules to support him while he’s fighting for his country.

After the war, the men return and soon Jim is on his way to see Jules and Catherine and their daughter Sabine. Jules confides to Jim that Catherine’s taken lovers including a man named Albert, who appears from time to time. In true European form, Jules excuses Catherine since this is her nature. He is right, but it’s exasperating watching this woman escape all responsibility and never be held to account, which would help her grow up. Perhaps if Jules, or Jim, were stronger and more of leader, though that’s not his nature, Catherine might not test him so much or get bored. It’s doubtful, but possible.

Whenever you’ve got a trio, you can bet a friend is going to start something with his pal’s wife and with Jules’ permission, Jim begins an intimate relationship with Catherine. She still has sex with Jules and Albert and probably other men we don’t see.

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It was interesting to see how Truffaut portrayed a sexy couple, or a few such relationships without a lot of nudity. I think his films are sexier with their fully dressed characters than those where the actors are buck naked.

Though I didn’t like Catherine, I did like the movie, which was masterfully paced and full of emotional surprises. Jeanne Moreau gives an outstanding performance. As I write historical drama, I found it interesting how Truffaut didn’t spend money on exquisite period costumes or settings. There are hints of the eras, but the costumes weren’t as accurate or elaborate as you see in period pieces made now.

The Criterion Collection’s DVD come with terrific bonus features including interviews with the sons of the men the story is based on and with the original “Catherine” who lived to be 96 and saw the movie before she died.

Cléo 5 to 7

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Agnés Varda’s 1962 film Cléo 5 to 7 focuses on a beautiful, young singer during the two hours she’s waiting to hear whether she has cancer or not. She’s had her tests and the doctor said to call him at 7. How do you occupy yourself right before you’re going to get such a diagnosis?

Cléo first goes to a fortune teller. She gets her cards read, but the fortune teller gets upset when asked to read Cléo’s palm. Things do not look good. From there Cléo and her maid go shopping and we see how much more grounded and practical her maid is. Sure anyone would be on edge and jumpy at this time, but we figure, given her purchase of a winter fur hat, bought purely to annoy her maid, that Cléo is capricious.

The film made me sympathetic to Cléo. She’s a rising star, but she’s surrounded by men who have little time or respect for her. It’s not till she’s in a park right before 7 when she meets a fellow that she might be able to trust. Her maid and friend are reliable and trustworthy, but really, when you’re about to learn if you have terminal cancer, you are pretty alone.

There’s a lot of attention given to the strangers Cléo passes who’re living as if they have forever (though one stranger certainly does not). These little snippets of action and conversation spice and show what life really is like and how we aren’t the center of anyone’s drama.

The lead Corrine Marchard does a fine job as Cléo bringing her to life in a way that we see her as more than a dizzy singer with a bit of bad luck. Yes, she’s got privilege and doesn’t understand fully how much, but we still want to learn more and understand Cléo better.

The camera work in the film is inspired and masterful, creating a look that remains fresh today.

The Life of Émile Zola

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The film character doesn’t look like this

As I’ve recently finished Germinal, when I saw the film The Life of Émile Zola (1937) displayed with Oscar Best Picture winners, I had to watch it. Starring Paul Muni, The Life of Émile Zola begins with Zola sharing a cold garret apartment with Cezanne. Both are struggling to launch their creative careers, while trying not to freeze to death. Soon Zola meets a prostitute in a café, hears her life story, writes a novel based on it. When it’s published it’s criticized for its immorality and it flies off the bookstore shelves. Still poor, Zola goes to the book seller who published the book to beg for a small advance. Instead he gets a check for 30,000 francs. He’s rich!

Zola continues to write popular books and lives in comfort and luxury with his wife in Paris. One day his still struggling friend Cezanne drops by to announce that he’s off to the South of France to paint. Paris is no longer the place for him. Before leaving, he feels compelled to point out that Zola has become materialistic and complacent. He’s lost his ideals. This opens Zola’s eyes.

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The story shifts to the army office where treasonous letters are found and the innocent Captain Alfred Dreyfus is soon arrested and sent to prison. The Dreyfus Affair is a dark corner of French history, showing how quick the army leaders were to allow their Anti-Semitism to condemn an innocent man with out fair due process. The very odd aspect of this Warner Bros. film is that the anti-semitism is never mentioned. If you didn’t know about the history, you wouldn’t realize that Dreyfus was Jewish and that was a factor in his arrest and imprisonment. A 2013 New York Times article stated that studio head  Jack Warner, who was Jewish himself, insisted that any mention of Jewish heritage be removed from the film.

When Dreyfus’ wife pleads with the comfortable bourgeois Zola, she convinces him that the right thing to do is to take up Dreyfus’ cause. The famous article “J’accuse!” results and Zola’s soon arrested for libel. A fierce courtroom battle ensues where Zola is the David to the powerful government’s Goliath. (This time David loses though.)

While this chapter of history is worthy of a film, this production is outdated. To whitewash the events by editing out anti-semitism makes no sense. Muni’s Zola hops around the scenes and is so almost comical in his vibrancy, that it’s hard to take him seriously. Other characters like his wife, Cezanne and the military leaders are one dimensional. The film was the Best Picture of 1937 and won other awards, but it doesn’t stand up to the test of time.

Earrings of Madame de . . .

Directed by Max Ophuls, Earrings of Madame de . . . is a film dripping in style. The earrings have a magical power, power to return to a married couple that grow apart and power to represent a range of emotions.

The beautiful Countess Louisa is married to an older general. While she’s hidden her debts from him and thus decides to sell a pair of earrings he gave her, their marriage isn’t bad. They are distant from each other, but he seems to understand her and marriage. In their social circle, I don’t believe anyone has an ideal marriage between soulmates. Here we see a marriage where there’s a lot of freedom. The general seems icy, but he does care about Louisa.

After she sells her earrings and reports them missing at the opera, the jeweler informs her husband and he buys them back. He then proceeds to give them to a lover as a farewell gift. When the lover must sell them to cover a gambling debt, you wonder just when they’ll return to Paris and to the countess.

Louisa soon meets an Italian diplomat named Donati. Their relationship goes from cordial to flirtatious to romantic obsession. As you’d expect, Donati has bought the earrings and gives them to Louisa, who’s already made a spectacle of herself when like Anna Karennina collapses when Donati falls from a horse during a hunt. People have been talking, but the sophisticated General brushes aside such possible indignities. He’s above such trifles.

However, things begin to fall apart when Louisa thinks she can fool her husband into thinking she’s found the earrings in her drawer.

The film is a masterpiece of cinematography and style. I constantly reevaluated what I thought of Louisa, the General and Donati. I had sympathy for each at various points. The film’s mastery is that they’re all likable and all in the wrong. Because of their social standing and their inability to sympathize much with each other or put aside social façades, the ending was inevitable. Louisa’s fate was due in large part to her distance from reality and her own lies.

It’s an intriguing and stunning film, but it’s also easy to remain aloof from the aloof characters.

I started to listen to the commentary that’s available on the Criterion Collection DVD, but the pedantic theories got old fast.

Poil de Carrote

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Written and directed by Julian Duvivier, Poil de Carrote or Carrotop (1932) will grab your heart. It’s the story of a boy whose mother has no love for him, while she spoils and adores his older siblings Felix and Ernestine, Carrot Top is the family’s Cinderella, who has to do all the chores and is the only person in the home, including the maid, who wears rags.

When the film opens, Carrot Top is getting scolded for writing a school essay stating, “A family is a group of people forced to live together under one roof who cannot stand each other.” His teacher tells him that all mothers and fathers love their children. The teacher clearly hasn’t met Mr. and Mrs. Lepic. Carrot Top has to call his parents Mr. and Mrs. Lepic and he’s absolutely right when he tries to convince his teacher that not all families are like Norman Rockwell paintings. Throughout this debate we see how smart and witty Carrot Top is.

Just as predicted, when Carrot Top arrives in his home town from boarding school, no one’s there to pick him up from the train station. When he gets home, the abuse and trouble begin. At every chance the stern Mrs. Lepic ridicules and overworks her son, who it’s well know was an “accident.” Mr. Lepic has withdrawn from home life and just doesn’t see what’s going on. He lives in his own world surviving by ignoring everything around him.

Only the new maid, Annette sees the injustice and hardship Carrot Top faces. His only other allies are the little girl he plans to marry and his good natured godfather who offers solace, but doesn’t intervene till the very end.

As the story progresses, Carrot Top’s upbeat attitude erodes. His shrew of a mother who looks for every chance to make life hard for Carrot Top is just too much. It breaks his spirit to see children his age in town who’re in nice clothes and are allowed to play.

Robert Lynen gives a realistic, sincere performance that shows amazing emotional range. Poil de Carrote was his first film. I learned from Criterion Collection’s essay, that Lynen joined the French Resistance in his 20s and was caught and executed by the Nazi’s.

I chose this film because I saw that Harry Baur of Les Misérables played the father. Again he provides an excellent, sensitive performance.

While I’d never heard of this story, Poil de Carrote began as a novel, then was a play, a silent film directed by Julian Duvivier, who made this film. Through the years, Poil de Carrote has been adapted numerous times into TV programs, cartoons and other films.

Les Misérables, 1934

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As a big fan of Victor Hugo’s novel and the musical Les Misérables, I had to get the Criterion Collection version of Raymond Bernard’s epic film, which was made in the 1930s. (Some say 1934, others 1935.)

At 284 minutes, it’s a long film and I’ve been watching it over the course of a couple weeks, but it’s been worth it. (This might be the longest film I’ve ever watched.) For the theaters Bernard succeeded in convincing the studio to release the film in three parts so viewers would watch the film on three different days at their convenience. Quite a wise idea as I had to take breaks.

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Jalvert listens to Fantine

At first because I’m so tied to the musical with Hugh Jackman, I didn’t connect immediately with Harry Baur as Jean Val Jean. But with his sincerity and vulnerability Baur won me over and became Jean Val Jean as much as any actor.

Since this Les Misérables was made in the 1930s, I expected lower production values. Certainly scenes weren’t as lush, but they were high quality and a lot of money went into the rebellion and costumes and more. The film spent less time with Fantine and didn’t hurt the filmportray her falling into prostitution as graphically as the musical, but I see that as a plus because I know some friends didn’t want their children who’re in middle school to see those scenes with Anne Hathaway. I don’t blame them because they are hard to watch and more so for young viewers. Here if your teen is willing to read subtitles, they won’t be so affected by Fantine’s downfall.

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Jean Val Jean (aka the mayor) saves a trapped man

Compared to the musical, Bernard’s film doesn’t sugarcoat the Thenardier’s greed and cruelty. They aren’t made to seem funny or cute. This film also makes it clear that the young boy, Gavroche was the Thenardier’s son.

Even with almost five hours of film time, spread across three films, Bernard edited out some of Hugo’s work, even some parts that are present in the shorter musical. I missed the expected scenes at the end when Marius distances Jean Val Jean from Cosette.

All in all, while it’s a time commitment, this production of Les Misérables is well worth watching if you’re a fan of the story. I will definitely look for more films directed by Raymond Bernard and for films featuring Harry Baur, who was great as Jean Val Jean.