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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 considers her options: suicide, to raise the child on her own, to wait for Marius, or to marry Honoré Panisse, the older merchant who seeks her hand. These choices are emotional: to raise a bastard, to trust in Marius' eventual return, to believe he'll want to marry her, to save her mother from shame, to fool Panisse, to give her child a name. In scenes dramatizing Fanny's honesty, she talks to her mother, then Panisse, César, and later Marius, and she makes her choices. —<firstname.lastname@example.org>
Further ordeals of Fanny, the deserted wife of Marius, and her father-in-law César, who had looked forward to their wedding
The sequel to "Marius" the year before stays in the same vein and is the same kind of staged theatre all the way, with the same kind of virtuoso performances by all the actors, but there is another director, and you miss the Alexander Korda flamboyance and liberal sweeps and flow of the movie tempo. This film is more like chamber theatre all the way, and you don't even see much of the harbour, the glorious ships, the street life and the joints. Fanny, left alone and pregnant by Marius going to sea for five years, marries another older suitor, just to give her child a future and safe environment, and it works out well, until Marius comes back after only two years as a most unsuspected surprise and does his best to complicate things but immediately leaves again. The story isn't much, it is very inferior to the first part, but there is a third part four years later, which will show the end of the story, directed by Marcel Pagnol, the author, himself - he made many films besides being a prolific Provence writer.
- Aug 19, 2020
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Is Fanny (1932) known by a different name in Canada in English? If yes, what is it known as?Answer