Archive for the FILM Category

Fifty Shades of Maigret

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , on February 7, 2023 by dcairns

Continental Films, the German company based in Paris at the time of the Occupation, which was sort of in command of the whole French film industry, produced four Georges Simenon adaptations, comprising Henri Decoin’s classic LES INCONNUS DANS LA MAISON, starring Raimu, and three Maigret films, directed by Richard Pottier, Maurice Tourneur, and Richard Poittier again.

I’ve just lately watched the Poittier entries — PICPUS and LES CAVES DU MAJESTIC. I saw the Tourneur, CECILE EST MORT!, but I can’t recall a thing about it except it was great. Time to revisit.

In all three films, Miagret is Albert Prejean and his sidekick Lucas is a fellow called Andre Gabriello. The writers adapting Simenon differ, and this seems to make a big difference. (Simenon wanted to work for Continental and adapt his own works, which may tell you something about him — most of the people who did work at the studio had no choice.) Simenon like Prejean’s performance as his hero, but there was initially some concern that Prejean, primarily a light comic, was too young and too lightweight to play the dour plodder, but audiences embraced him — the only two previous Maigrets, who appeared the same year, were Harry Baur and Pierre Renoir, working for Duvivier and Jean Renoir, who were much closer in age and temperament, though Baur, like later three-time-Maigret Gabin, was a bit more explosive than the character in the books.

The strange thing is, Prejean IS too lightweight, but the films solve that by bending the character to fit — this Maigret is many times more whimsical, flippant, and cheeky than the novels’ version and, like Benoit Blanc, he’s also a celebrity detective (which is not a thing). It’s as if it was felt that taking a famous fictional sleuth and putting him on the screen just naturally required that his fame needed to be acknowledged by the supporting cast. WE’VE all heard of Maigret, so why wouldn’t the populace in the films.

PICPUS is written by the fascinating Jean-Paul Le Chanois (a Jewish communist resistance member working for a German film company) who later became a hate figure for the nouvelle vague as a director of the cinema du papa school, but it needs to be noted that Henri-Georges Clouzot was head of the script department at Continental, and the humour smacks of his playfulness, black comedy and grotesquerie in, say, L’ASSASSIN HABITE… AU 21, and even LE CORBEAU. Fiona became convinced of this.

The plot in this one is insanely convoluted, and then magically boils down to a simple confrontation with very little summary required. A nice job of screenwriting.

There’s a crazy sequence where we’re suddenly at the Last of the Mohicans Archery Club and everybody’s wearing an Indian headdress — it’s interesting that Maurice Tourneur, who directed (co-directed, really) MOHICANS in Hollywood, was around, and would make the sequel. But he doesn’t seem to have ever been attached to this one — I now have a copy of Christine Leteux’s book Continental Films, which produces the receipts.

By the time of LES CAVES DU MAJESTIC, the last Continental production as the occupation ended, scripted this time by the great Charles Spaak, the comedic tone has been modified a bit to allow more emotion, and Prejean’s Maigret has reintegrated the character’s original interest in psychology and humanity — his interest in why is greater than who. But this had been blended with Prejean’s light persona, so that Maigret can say he’s forgotten all about the murder he’s supposed to solve, because he’s more concerned with the human fallout.

This is the film whose shooting is documented in Tavernier’s underrated LAISSEZ-PASSER — Spaak completed the film in prison after being arrested, and this partly explains why there’s so much talk about food in the film — the writer was starving and couldn’t think of anything else. But the film’s concentration on the theme of paternity becomes even more moving when you know that Spaak’s wife, pregnant with their first child, had also been arrested. They got out OK in the end.

Poittier’s more interesting than I had somehow assumed — he throws in a splitscreen shot in PICPUS (as Lucas briefs Maigret on a murder, we see the discovery of the body played out in a little box) and an impressive sequence shot in CAVES.

It’s curious — I tend to rate movie Maigrets on their resemblance to the literary figure, but Prejean’s portrayal demands to be judged differently, on the basis of how successful his warping of the role is. And it’s extremely successful, on its own terms.

All the facts here come from Leteux’s book and Tavernier’s film. Some of the speculations are mine.

Double Bill

Posted in FILM with tags , on February 6, 2023 by dcairns

The Sunday Intertitle: Parsifal Guy

Posted in FILM, MUSIC, Mythology with tags , , , on February 5, 2023 by dcairns

PARSIFAL or, in this Dutch-titled copy, PARZIVAL, is a 1912 Italian super-production running a whole fifty minutes. Mario Caserini is the director, who would make THE LAST DAYS OF POMPEII the following year. Sadly he died in 1920, which is early, though it might be possible to judge whether he was adapting along with the newish medium if one were to view his later films.

But this one is impressive — it begins with odd things on sticks, which I always think is a smart way to start off. A parade of knights, monks, and such — and they just keep coming. Caserini has found the ideal camera placement — high up and from the back, so these characters keep passing into view, each a delightful surprise in his odd vestments and his own individual odd thing on a stick, and they just keep coming. He manages to keep this shot going for a minute and a half. It’s like how you don’t get bored of the imperial destroyer passing overhead at the start of STAR WARS: you just get more and more impressed. I hate pageantry, normally — God, how I hate it — and this is certainly pageant-adjacent, but it honestly wowed me.

Then, since it worked once, Caserini does it again, to slightly less effect since we’ve already seen these blokes, but this time their passing into the castle or chapel or whatever it is where the Holy Grail is on permanent display. The gang crowding into the doorway put me in mind of the end of Keaton’s COPS.

As the film goes on, we get mysterious disappearance by both dissolve and jump cut, an angel, some barbarians executing a hoax, lovely depth compositions and mismatched left-to-right business where a knight exits screen right then enters a new shot screen right again, as if he’d somehow turned his horse around in an instant. So much to enjoy.

I’m playing it with Wagner as soundtrack, and I’ll let you know how it all turns out.