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Whirlpool of Fate (1925)
"La fille de l'eau" (original title)

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After her father's death and her uncle having drunk all the inheritance, Virginia is left alone. She is accepted by a family of bohemians but a quarrel between the bohemians and the ... See full summary »


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Title: Whirlpool of Fate (1925)

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Complete credited cast:
Virginia Rosaert
Charlotte Clasis ...
Pierre Champagne ...
Maurice Touzé ...
La Fuine
Georges Térof ...
Monsieur Raynal
Madame Fockenberghe ...
Madame Raynal
Harold Levingston ...
Georges Raynal
Rest of cast listed alphabetically:
André Derain ...
Patron du 'Bon Coin'
Van Doren ...
Young lover
Pierre Lestringuez ...
Henriette Moret ...
La Roussette
Pierre Renoir ...


After her father's death and her uncle having drunk all the inheritance, Virginia is left alone. She is accepted by a family of bohemians but a quarrel between the bohemians and the peasants coerce her to flee the peasants' riot. She is then helped by Raynal who falls in love with her but is too shy to tell her. Sheltered by his father, Virginia is robbed by her uncle of the money Raynal gave her to pay the bill in the village. He and his son then start to consider her a thief. Written by Jean-Marie Berthiaume <>

Plot Summary | Add Synopsis


Drama | Romance





Release Date:

20 March 1925 (France)  »

Also Known As:

Whirlpool of Fate  »

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Technical Specs


Sound Mix:

Aspect Ratio:

1.33 : 1
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Edited into Spisok korabley (2008) See more »

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User Reviews

Desperation, Suicide, Murder...
15 February 2013 | by (United States) – See all my reviews

The ambiguity of politics in La Fille de L'Eau replaces the ambiguity of stylistics from Une Vie Sans Joie (1924). I find it hard to determine which early idea presented by the film should then be applied throughout the film... that hope springs from the unsung courage and perseverance of everyday people or that wisdom is seated in the lives of those who know to avoid being in the way of their husband's racing car? Is Renoir flippant in his observation of the casualness of fate and abnormality of instinct? This film leaves me with more questions than answers as it is a launching point for social themes that will be teased out throughout Renoir's career. I would like to think that Renoir cares about "the little people" but it is well recognized that he is ambiguous and ambivalent in his political expressions. This film is a good example. The documented views of Vigo's social cinema have a solid application in the barge scenes and the milieu of the film more generally, however, the stylistic system dominates the cinematic experience(like all Renoir films really). Psych-driven flashback shots and angular close-ups eventually give way to rapid editing montage sequences. The caravan scene is first expressed in Eisensteinian juxtapositional collision montage and is then remembered by Gulune in Gance-like hyper-psychological rapid montage. As Gulune undergoes further stress from her environment and circumstance, she hallucinates...and nightmaresque sequences are constructed from every French Impressionist technique in the book: superimpositions, mattes, over-exposures, surreal visuals (mise-en-scene), reverse-projection, slow-motion, oblique blocking within the frame, unnatural settings, and even mirror distortions a la Dr Tube (Gance). Gulune was close to death and I conjecture that this is the over-arching theme of the film as opposed to the tired fixations on Renoir's supposed ever-present and all-pervasive socialist politics (even if subverted and often excused under the banner of "naturalism"). Perhaps my thesis would hold more weight if La Fille de L'Eau had been produced in 1926 or 1927 as sound film was to bully silent film to death... but then again Renoir was always considered forward-thinking and generally ahead of his time.

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