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 ...
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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
The film underwent a restoration in 2015, through the Compagnie Méditerranéenne de Film and the Cinémathèque Française, with the support of the CNC, the Franco-American Cultural Fund, TV channel Arte and The Audiovisual Archives of the Principality of Monaco. See more »
The above mentioned movie is the final part of a 3 part series of which Maurius and Fanny were the predecessors. Out of the 3, I like this one the best. One, the very good actor, Raimu gets to step out of the background and take the lead. Two, it wraps up all the pieces that have been set up in the previous movies, as the major theme of life goes on, and destiny must not be avoided, despite of silly human follies of pride, societal scorn and by-law morals. A charming family movie, all at once, an unsentimental love story sporadically. Raimu delivers monologues here that define the character and the nature of the others. Also, I must the add, the son of Fanny and Maurius is very well played. Pagnol must be applauded for bringing his hit play to the screen. A musical movie was made in the sixties starring Leslie Caron which put all three plays into one movie titled Fanny. I remember as being sporadically entertaining with its deep sets and lush technicolor. But this is the one to watch. Pagnol use of outdoor sets is invigorating for early sound cinema and his camera is an unobtrusive detailer and watcher. A fine movie forgotten but worth remembering.
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