Honoré Panisse is dying, cheerfully, with friends, wife, and son at his side. He confesses to the priest in front of his friends; he insists that the doctor be truthful. But, he cannot ... See full summary »
Marius has left, signed up for a five year hitch on a ship bound for the Indian Ocean. In his few letters to his father César, he hardly mentions Fanny. When she finds she is pregnant, she ... See full summary »
César runs a bar along Marseilles' port, assisted by his 23 year old son, Marius. Colorful characters abound: M. Panisse, an aging widower and prosperous sail maker; Honorine, a fishmonger ... See full summary »
In this little Provencal village, a new baker, Aimable, settles down. His wife Aurelie is beautiful and much younger than he. She departs with a shepherd the night after Aimable produces ... See full summary »
"Fanny" is the second part of the "Marseille trilogy", made by Marcel Pagnol with the generic name of "Marius, Fanny and César". Fanny falls in love and is abandoned by Marius. Now she ... See full summary »
"Marius" takes place in Marseilles' Old Port, at the La Marine Bar, owned by César and his son Marius. Marius' biggest dream is to embark on one of the boats passing by his dad's bar and to... See full summary »
A young boy's life in turn-of-the-century France. Marcel, witnesses the success of his teacher father, as well as the success of his arrogant Uncle Jules. Marcel and family spend their ... See full summary »
Based on Molière's play. The children of Harpagon, Cléante and his sister Elise, are each in love but they still haven't spoken to their father yet. Harpagon is a miser who wants to choose ... See full summary »
Louis de Funès,
Louis de Funès,
Meeting a movie team on location near his house, a young man saw a lots of encouragment for his dreaming carreer as a movie star in what was only sarcasm from the members of the team. (This... See full summary »
A group of travelers, including a monk, stay in a lonely inn in the mountains. The host confesses the monk his habit of serving poisoned soup to the guests, to rob their possessions and to ... See full summary »
Honoré Panisse is dying, cheerfully, with friends, wife, and son at his side. He confesses to the priest in front of his friends; he insists that the doctor be truthful. But, he cannot bring himself to tell his son Cesariot that his real father is Marius, the absent son of César, Cesariot's godfather. Panisse leaves that to Fanny, the lad's mother. Dissembling that he's off to see a friend, Cesariot then seeks Marius, now a mechanic in Toulon. Posing as a journalist, Cesariot spends time with Marius and leaves believing tales he is a petty thief. Only after the truth comes out can Marius, Fanny, César, and Cesariot step beyond the falsehoods, benign though they may be. Written by
"Life" accounts more than literate "existentialisme"
Ah, vraiment and verily, I say unto you, Marcel Pagnol was a "camp" of the premier order. Not only that, he succeeded in morphing what was and is, at heart, mere soap opera and sitcom into the stratosphere of cinema verite and classic dramaturgy. Poor "planktonrules" has to be a juvenile, like the Pierre Fresnay of Marius, else he would have savored the wit and bonhomie of this conclusion to an essentially witty and clear-eyed projection of a worldly if folksy milieu and ambiance, a fleshly and fleshy cinematic approximation of a time and a place and a people of more than recognizable humanity. And "Writers Reign" continues to have his way with the rest of us, even as I must demur, quibble?, that too, on two points, to wit: First, to me at least, Gene Kelly was no more and no less of a "dancer" than Fred Astaire. Yes, the former projected a street-urchin pretension to the latter's urbane and seamless "dancing," with or without Ginger, Rogers that is. Neither began to essay the likes of "true" dancing, as in ballet and/or "modern," wherein the entire body instrument is involved, trained and disciplined to a T-fall. Both danced with their feet only. Second, I find his putdown of Charles Laughton contumely rather than mere "criticism." If not for "Bligh," at least for his stark stagings of "Night of the Hunter." That said, Raimu is indeed, peerless, a Gallic Beery avec subtleties AND profundity, and most if not quite all of his cronies, female as well, rise to the occasion of universal gemutlichkeit and whimsy, barbs and all. As for the young Fresnay and the better-as-matron-than dewy-eyed deb Demazis?, both mature and convince in the finale, revelations and confessions and insights tout-a-l'heure?
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