6.9/10
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11 user 8 critic

Whirlpool of Fate (1925)

La fille de l'eau (original title)
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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Cast

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 ...
Jef
Henriette Moret ...
La Roussette
Pierre Renoir ...
Farmer
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Storyline

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 <jiembe@videotron.ca>

Plot Summary | Add Synopsis

Genres:

Drama | Romance

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Details

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Release Date:

20 March 1925 (France)  »

Also Known As:

Whirlpool of Fate  »

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Technical Specs

Runtime:

Sound Mix:

Aspect Ratio:

1.33 : 1
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Connections

Edited into Spisok korabley (2008) See more »

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User Reviews

 
Emotional imprints leave dreams
16 January 2016 | by (Greece) – See all my reviews

This will mostly seem outdated now. A silent melodrama about a young destitute girl in the French countryside trapped between men who desire her, and on the other hand by her efforts to comply or reciprocate. Various bargains that have to do with money as the more or less thinly veiled metaphor for sex.

But there is a dream sequence here that, as so often with these silent dreams, I urge you to see. It's about the girl transmuting in her feverish mind these barely comprehensible forces that threaten the virgin soul into images that will make sense; so an imaginative flight, a sensual, delirius game of hide-and-seek where the coarse, violent men haunt her down, where a piece of rope transforms into the snake of mischievous desire, a point-of-view rushing towards a door and the light outside, and finally the man who can protect her shown, quite literally, as a champion on his white horse galloping across the skies.

The overwhelming experience is so perfectly about the distorted imprint of the world. This should be seen next to the best moments in Epstein. There is shadow here cast by the eye in motion, emotional or otherwise.

Another note that intrigues, a blemish in the perfect picture of her well-to-do benefactor. His parents are shown at one point hastily leaving for Algiers on account of business; what was probably meant innocently at the time, now can only leave us wondering at his source of wealth.


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