A grand melodrama set in 1820s Paris, four men fall for a performer (Garance), whose act is to sit naked in a tub of water. They are a thief (Lacenaire), a mime (Baptiste), an actor (Frederick) and a Count (Edouard). Baptiste is sensitive and innocent, he loves her most, but timidity cause him to miss his chance. Frederick is confident and loose with words, he wins her first, but when she unwittingly gets dragged into Lacenaire's criminal activities, she seeks protection in the power of Edouard, who recently wooed her. She does not love Edouard however, and a tragic ending for all ensues when she returns to Paris and reconnects with her former admirers.
In era and style the film takes influence from Elizabethan and Jacobean plays, with much action taking place in theatre and on stage, and Shakespeare referenced often throughout. With stunning cinematography, its laced with an intoxicating atmosphere. The mime Baptiste brings much heart and grace to screen, while the other men bring flair, stateliness and cunning. The tragedy is that none can be with the one they most desire, the pursuit of which drives them to shocking extremes, including adultery and murder, and by curtains, no dignity remains. Alas, the writers were influenced by Shakespeare to a fault, for not unlike his plays, the plot is quite captivating, before a self destructing climax. How much the greater had Baptiste overcome his boyish past and stayed faithful to his wife Nathalie, a woman who truly loved him, mother to his son, and of greater beauty than Garance! The films ultimate message, rather unfortunately, is of lust trumping dignity, and contrary to the genre, is very un-romantic. This is a femme-fatale, not a romance.
While Arletty (who plays Garance) is a fine actress and attractive woman, with the best in the business doing her costume, lighting and makeup, she would have been over 40 at time of filming (born 1898, released 1945), and was therefore terribly miscast as the alluring beauty. It might have worked had she a fascinating personality, but that aspect of her character is underdeveloped. The saving grace is that her wisdom fits thematically, heightening the foolishness of these men.
In era and style the film takes influence from Elizabethan and Jacobean plays, with much action taking place in theatre and on stage, and Shakespeare referenced often throughout. With stunning cinematography, its laced with an intoxicating atmosphere. The mime Baptiste brings much heart and grace to screen, while the other men bring flair, stateliness and cunning. The tragedy is that none can be with the one they most desire, the pursuit of which drives them to shocking extremes, including adultery and murder, and by curtains, no dignity remains. Alas, the writers were influenced by Shakespeare to a fault, for not unlike his plays, the plot is quite captivating, before a self destructing climax. How much the greater had Baptiste overcome his boyish past and stayed faithful to his wife Nathalie, a woman who truly loved him, mother to his son, and of greater beauty than Garance! The films ultimate message, rather unfortunately, is of lust trumping dignity, and contrary to the genre, is very un-romantic. This is a femme-fatale, not a romance.
While Arletty (who plays Garance) is a fine actress and attractive woman, with the best in the business doing her costume, lighting and makeup, she would have been over 40 at time of filming (born 1898, released 1945), and was therefore terribly miscast as the alluring beauty. It might have worked had she a fascinating personality, but that aspect of her character is underdeveloped. The saving grace is that her wisdom fits thematically, heightening the foolishness of these men.