This silent version of Zola's classic was impossible to see for a long time.Zola's heirs (concerning a novel from the 19Th century) were suing Duvivier's (video cassettes and DVDs) producer René Château ,reportedly.That may account for the disappearance of such other great Duvivier movies as "la fête à Henriette" or "Au Royaume des Cieux" (the latter was available on cassette a long time ago).
In the Rougon-Macquart saga ,"Au Bonheur des Dames" is far from being one of my favorites.The depictions are impressive,but the story is melodramatic ,particularly the ending .Duvivier has transposed the action to his time ,the early thirties.It's not a big problem,since the director introduces ,in the first sequences ,sandwich men and advertising leaflets coming down from the sky.And the neons as well.
That said,"Au Bonheur des Dames" displays a director who hadn't found himself yet.As every French cine buff knows,Duvivier was the film noir master,the poet of evil.He was also a past master when it came to depicting a place ,the Halles de Paris or Bastille Day.Actually,the true Duvivier would appear in his next effort "David Golder" (1931)
Best sequences: Genevieve 's fiancé ,telling the old shopkeeper Baudu how seedy his place is :the cobwebs ,the old furniture and the dilapidated walls speak louder than words;Baudu ,becoming mad as he hears the noises of the walls falling down; A giant worker with a pick destroying everything;and finally Denise's face ,in the last sequences ,who tends to to show that far from being an ingenue,she is a potential business woman and the story does not tell if she will show compassion for people who fall by the wayside.
Mouret's fête by the river will become a Duvivier's permanent feature too.Even at his nastiest,at his darkest,there will always be a cause for celebration: the Guinguettes in "La Belle Equipe" and "Voici le Temps des Assassins" ,the ball in "la fête à Henriette" or the fair in "Boulevard" .
But Duvivier was still searching for an identity at the time and there are weaknesses in his film:the relationship Denis/Mouret is as bland as that in Cayatte's talkie (1943).Blame it on the actor,Pierre de Guingand ,because Dita Parlo's talent is incontestable.Ditto for Armand Bour whose performance would be dwarfed by Michel Simon's (who else?)a decade later.
I will not make ,anyway,any comparison between the silent and the talkie.Today's audience will fatally favor the latter over the former. Every cine buff has got to see both and make up his mind.
NB.In Zola's saga ,"Au Bonheur des Dames" is the follow -up to "Pot-Bouille" (Octave Mouret is featured in both books).In 1957,Duvivier transferred to the screen that book,with only fair results .The movie was slagged off by Truffaut who (for once) was not wrong.Gerard Philippe was cast as Mouret.
In the Rougon-Macquart saga ,"Au Bonheur des Dames" is far from being one of my favorites.The depictions are impressive,but the story is melodramatic ,particularly the ending .Duvivier has transposed the action to his time ,the early thirties.It's not a big problem,since the director introduces ,in the first sequences ,sandwich men and advertising leaflets coming down from the sky.And the neons as well.
That said,"Au Bonheur des Dames" displays a director who hadn't found himself yet.As every French cine buff knows,Duvivier was the film noir master,the poet of evil.He was also a past master when it came to depicting a place ,the Halles de Paris or Bastille Day.Actually,the true Duvivier would appear in his next effort "David Golder" (1931)
Best sequences: Genevieve 's fiancé ,telling the old shopkeeper Baudu how seedy his place is :the cobwebs ,the old furniture and the dilapidated walls speak louder than words;Baudu ,becoming mad as he hears the noises of the walls falling down; A giant worker with a pick destroying everything;and finally Denise's face ,in the last sequences ,who tends to to show that far from being an ingenue,she is a potential business woman and the story does not tell if she will show compassion for people who fall by the wayside.
Mouret's fête by the river will become a Duvivier's permanent feature too.Even at his nastiest,at his darkest,there will always be a cause for celebration: the Guinguettes in "La Belle Equipe" and "Voici le Temps des Assassins" ,the ball in "la fête à Henriette" or the fair in "Boulevard" .
But Duvivier was still searching for an identity at the time and there are weaknesses in his film:the relationship Denis/Mouret is as bland as that in Cayatte's talkie (1943).Blame it on the actor,Pierre de Guingand ,because Dita Parlo's talent is incontestable.Ditto for Armand Bour whose performance would be dwarfed by Michel Simon's (who else?)a decade later.
I will not make ,anyway,any comparison between the silent and the talkie.Today's audience will fatally favor the latter over the former. Every cine buff has got to see both and make up his mind.
NB.In Zola's saga ,"Au Bonheur des Dames" is the follow -up to "Pot-Bouille" (Octave Mouret is featured in both books).In 1957,Duvivier transferred to the screen that book,with only fair results .The movie was slagged off by Truffaut who (for once) was not wrong.Gerard Philippe was cast as Mouret.