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The Little Match Girl (1928)
"La petite marchande d'allumettes" (original title)

 -  Short | Drama  -  8 June 1928 (France)
7.1
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Ratings: 7.1/10 from 602 users  
Reviews: 16 user | 4 critic

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Title: The Little Match Girl (1928)

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Cast

Cast overview:
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Karen
Eric Barclay
Jean Storm ...
Axel Ott
Manuel Raaby
Amy Wells
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Genres:

Short | Drama

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Release Date:

8 June 1928 (France)  »

Also Known As:

Das kleine Mädchen mit den Schwefelhölzern  »

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1.33 : 1
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Did You Know?

Trivia

Lucia Joyce, daughter of James Joyce, dances a small duet as a toy soldier in this film. She had studied under Isadora Duncan's eccentric brother Raymond. See more »

Connections

Version of The Little Match Girl (1986) See more »

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User Reviews

 
Oh the humanity...
16 February 2013 | by (United States) – See all my reviews

La Petite Marchande D'Allumettes is another of Renoir's bleak portrayals of meek and meager lives at odds with their milieu. Something about it though feels like a re-hashing of earlier Renoir works (Une Vie and La Fille...even Nana). This piece was filmed in the Vieux-Colombier and produced by Tedesco. I conjecture (or just straight up fantasize) that the pair brainstormed on a film concept that was to be "suited" for Renoir and Hessling together. I imagine the idea of adapting a famous tale (Andersen's short story) as a compromise (never a great way to produce art imo)... and what you get is something not quite original in any way whatsoever. Now, that isn't to say that the French Impressionist film techniques used in the hallucination sequences are not constructed and crafted with technical precision and genius intuition... but that it was already fertile ground for Renoir (and Hessling for that matter). I have previously hypothesized that some of Renoir's silent work was prophecy and prognostication through forming a death allegory between human freedom and the film industry itself. This may have been the last time that Renoir favored a stylistic system constructed around a protagonist's psychology and showcasing avant-garde editing techniques (impossible to say without a full print of Le Tournoi available). Certainly, Renoir's next film, Tire au Flanc would begin a shift toward a dominant stylistic system and diegetic construction (characterized by depth of field, mobile framing, multiple protagonists, etc.) that marked Renoir as a unique and exceptional filmmaker. Interesting also, that it was not sound film production that spurred this stylistic shift for Renoir as Tire was a silent film (although, I do believe it may have been the imminence of sound film that also had Renoir thinking one step ahead).


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