Le Poison

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The comedy in Sacha Guitry’s La Poison (1951) is trés noir. In fact, I’m unsure if I should like it. In this guilty pleasure, La Poison gives us Paul Bracconier, a husband who can’t take his wife. Generally, I can’t stand jokes that put wives or husbands in a bad light, or that are just a series of complaints. But Blandaire Bracconier, the wife in question, is such a mean-spirited drunk with no redeeming qualities and it does seem that with a nicer woman, Paul would be a-okay, so I made an exception.

Also, since the wife has purchased rat poison to do her husband in, it seems they’re on equal footing.

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Played by Michel Simon (Two of a Kind , Port of Shadows and many other classics), Paul has a redeemable side. He doesn’t rush to murder his wife. At the start of the film he visits the local priest for sympathy, mercy and perhaps some advice.

When he hears a radio interview with a lawyer honored for getting murderers off, he goes to meet the lawyer. The conversation with the unethical lawyer convinces Paul that, yes, he can get away with murder so he is emboldened to try.

Scenes with the neighbors and their children add to the humor. One of my favorite scenes involves Paul’s neighbor visiting him in jail and recounting how grateful the neighbors are to Paul because his crime has increased tourism and business in the hamlet.

An entertaining film, La Poison is a dark, old-fashioned comedy that does show the problems in the legal system. According to the background commentary, Guitry made it as a commentary on his own incarceration when he was wrongly accused of collaborating with the Vichy government during WWII.

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Victoria, Season 3, Episodes 2 & 3

VICTORIA SERIES 3

Episode 2: London Bridge is Falling Down

Starting right when the first episode ended, the second episode begins with Victoria in labor and the barbarians, a.k.a. Chartists are storming the palace gates. With Bertie and Vicky peering through the doorway, Victoria gives birth to Louise. Albert gets the guards to protect the palace and then scolds the former French king, duke and the blonde noble from last season. He hates gambling.

The Chartists decide to take their petition to the palace, but one of the rebels, puts up a fuss. Abigail is a bit perplexed and smitten with him.

The Duke of Wellington comes to the castle to inform the Queen that hundreds of thousands of Chartists are coming to the castle. The Duke, Lord Palmerston and PM advise stopping them with soldiers. The Queen doesn’t want to go to that extent.

Francatelli convinces Miss Skerrett to elope after he’s bought a small hotel. While she’s in love, her work means a lot to her. I don’t think she’ll be able to quit. Francetelli even kids her on that account.

Louis-Phillipe gets in trouble for scaring Bertie and Vicky by telling them about how royals can violently lose their heads. Albert asks him to leave.

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Albert’s “cottage” Osborne House

Someone finds a load of guns (500!) in the office space for the Chartists. The PM and Lord Palmerston take this as proof of their danger. They come close to convincing Victoria to send the army out to deal with them. However, Victoria realizes that the Chartists are too poor to acquire all that weaponry. She gets word out to Duke Wellington in the nick of time. The crisis is averted and the spy was caught. Still Albert gets his way and the family and nobles are off to the Isle of Wright to his “cottage.”

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Episode 3: Et in Arcadia

All are frolicking at Osborne House, but soon the Prime Minister and Lord Palmerston, who brought the troublemaking King of Hungary to London in the Queen’s absence, are summoned to the Isle of Wright.

Francatelli quits, which causes a stir. His wife “Miss” Skerrett still hesitates about announcing that she’s married and leaving.

Throughout the episode, Albert hectors Victoria for wanting to return to London and for craving her subjects’ love. On top of that, they clash over how Albert handles Bertie and his resistance to books and tutoring. Albert sees Osborne house as a paradise and it’s quite annoying that his family doesn’t love it there. Victoria and Albert’s conflict escalates to an argument at dinner with the full court watching when the Queen throws a glass of water in Albert’s face.

Victoria’s feeling overwhelmed by her marital strife and political problems back in London when Skerrett finally announces that she’s leaving and that she’s gotten married. Victoria feels betrayed and is hurt that Skerrett did all this behind her back.

My Take

Both episodes speed along and in addition to the main plot have storylines with the Duchess who’s married to an ogre, who’s sent her young son to boarding school against her will and the men she’s flirting with. Victoria’s sister Feo continues to plot and manipulate.

I was surprised that Miss Skerrett did tell the Queen she was leaving because she got married. I thought she wouldn’t be able to and I stand corrected. I still don’t see how Skerrett will be happy not working at the palace.

We’ve got plenty of comic relief with Victoria’s attempt at swimming and a mix up with the bedrooms between Foe and the Duchess.

The sibling rivalry between the adorable Vicky and Bertie is realistic as is Victoria and Albert’s marriage problems. Sure most people aren’t married to royalty, but V & A’s arguments and reactions are authentic and engaging. Again, Victoria offers compelling drama.

Le Ciel à Vous

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Jean Grémillion’s Le Ciel à Vous, stands out as it’s uplifting film. Released during the occupation during WWII, it’s the story of a married couple, who must move their family’s home and business when their land is sold to make room for an aviation club’s airfield. Thérèse and Pierre Gauthier are happily married and even when they disagree they respect each other. They have a daughter and a son.

When Lucienne Ivry, a famous aviatrix, performs at the airfield, the Gauthier’s flock to the show. Nostalgic, Pierre remembers his days as a mechanic in WWI. He’s a master mechanic and saves the day when Ivry’s airplane’s engine fails.

Pierre grows more and more keen on flying and takes it up as a hobby. Meanwhile, his competent, beautiful wife gets more jealous. Her jealousy propels her to take up flying herself on the sly. When Pierre finds out, he panics. But when he sees how much she loves flying, they begin to share this somewhat dangerous hobby. Since Pierre’s a great mechanic and Thérèse has a knack for business, they are able to afford their own plane. In fact, they soon start winning prizes for aviation. All isn’t smiles though, when the family hits some financial troubles, the parents decide to sell their daughter’s piano. (The daughter was a fabulous pianist, but the mother made her quit the piano since she wanted the girl to enter a more practical field.)

Gremillon_Filmw_CielVous_originalEven when the going gets tough, and it seems that they should sell their plane, Pierre and  Thérèse keep flying. She racks up so many trophies her mother complains of all the extra dusting. As proficient as he was, Pierre knew their plane couldn’t break any more records for me. Then Thérèse decides she has a good chance to break the women’s long distance record of 2000 some miles. Her mother is against it and Pierre is torn too. He wants her to seek fulfillment and he does believe she can do this, but he also realizes it’s dangerous. Grémillion gives us such a multi-faceted marriage at the film’s core. Each wants the best for each other. Both Pierre nor Thérèse believe in fulfilling their duties to their business and family. They don’t just do what feels good. They’re cheerful, smart people throughout the story and while they may disagree, they do so with respect and dignity, which was so uplifting to watch.

The plot held my attention and I admit I wasn’t certain what would happen at the end. This is a film I’d definitely watch again.

Bed and Board

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I’m working my way through the DVD set, The Adventures of Antoine Doinel, and watched the fourth film, Bed and Board (Domicile Conjugal in French). Bed and Board delights as it shows Antoine as a newly wed. He’s married Christine whom he met in the previous film Stolen Kisses. The film offers a charming look at Antoine and his better functioning family members (i.e. his wife and in-laws) as he continues to hop from job to job. At the start of the film, Antoine’s job is coloring flowers for a florist shop. When his experiment to dye flowers red blows up, he soon gets a job with an American company controlling model boats in a harbor. It’s a silly job, which he got through an error, but Antoine never complains.

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As a husband and father, Antoine is old fashioned in a quaint way and really wants to play out his role as protector and loving husband and father in his dreamy way. Christine and Antoine do disagree and have problems, but none are major. One of my favorite part of the movie is how Antoine goes behind Christine’s back to name his son. Yes, the was wrong. They should have solved the problem if only by flipping a coin, but it was a cute, very Antoine move.

Truffaut is amazingly sensitive about how he shows childbirth, infidelity and conjugal life. I’m guessing it was his style and not censorship in 1970s France. It made me smile.

A chance encounter with a Japanese siren, for whom his chivalry leads to temptation, shows a failing, and . . .

SPOILER

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Jules and Jim

Truffaut’s Jules and Jim is rightly considered a classic. Based on an autobiographical  novel by Henri-Pierre Roché, the story focuses on two young men, with a deep friendship. Jules is Austrian and lives in Paris, while Jim is French. They share a way of looking at the world. Both are looking for love in 1912. When they meet Catherine, who resembles a sculpture which they view as the paragon of female beauty, they’re both struck by her spirit and openness. Jim agrees to let Jules court and marry her.

The three make a carefree group, but you just know that this arrangement won’t last forever. Catherine is capricious but didn’t fascinate me the way she did all the men who fall for her. She has no job and no interests. She’s pretty and open to life. Her spirit can be summed up when after viewing a play, they’re discussing the heroine, as Jules and Jim debate, Catherine illustrates her view of the role of women by jumping in the Seine. Fully clothed, Jim jumps in and fishes her out.

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Soon WWI breaks out and Jules and Jim fight on opposing sides, both fearing that they may shoot the other. Catherine is back at home in Germany caring for her daughter and receiving beautiful love letters from Jules. In addition to being enigmatic, Catherine struck me as a taker. There’s no mention of her writing great letters to Jules to support him while he’s fighting for his country.

After the war, the men return and soon Jim is on his way to see Jules and Catherine and their daughter Sabine. Jules confides to Jim that Catherine’s taken lovers including a man named Albert, who appears from time to time. In true European form, Jules excuses Catherine since this is her nature. He is right, but it’s exasperating watching this woman escape all responsibility and never be held to account, which would help her grow up. Perhaps if Jules, or Jim, were stronger and more of leader, though that’s not his nature, Catherine might not test him so much or get bored. It’s doubtful, but possible.

Whenever you’ve got a trio, you can bet a friend is going to start something with his pal’s wife and with Jules’ permission, Jim begins an intimate relationship with Catherine. She still has sex with Jules and Albert and probably other men we don’t see.

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It was interesting to see how Truffaut portrayed a sexy couple, or a few such relationships without a lot of nudity. I think his films are sexier with their fully dressed characters than those where the actors are buck naked.

Though I didn’t like Catherine, I did like the movie, which was masterfully paced and full of emotional surprises. Jeanne Moreau gives an outstanding performance. As I write historical drama, I found it interesting how Truffaut didn’t spend money on exquisite period costumes or settings. There are hints of the eras, but the costumes weren’t as accurate or elaborate as you see in period pieces made now.

The Criterion Collection’s DVD come with terrific bonus features including interviews with the sons of the men the story is based on and with the original “Catherine” who lived to be 96 and saw the movie before she died.

Unfaithfully Yours

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Rex Harrison plays conductor Alfred de Carter, a pompous egotist (Doesn’t Harrison play a lot of this sort?) De Carter’s clueless brother-in-law Augustus misunderstood his request to “look after my wife while I’m gone and as a result Augustus has Daphne, the wife, followed by a detective.

At first Alfred wants to give his wife the benefit of the doubt, but other people want to tell him that his wife was found leaving his secretary’s hotel room in a negligee in the middle of the night. Soon Alfred’s high minded ethos are out the window and while he’s conducting a symphony concert, he’s plague by different scenarios involving confronting Daphne about this affair.

Each variation is more comical than the last. Directed by Preston Sturges, Unfaithfully Yours is a madcap comedy with a perspicacious take on jealousy. I particularly liked how well music was worked into the story and how each piece fit Alfred’s mood to a T.

The psychology of jealousy is explored to the limit. Harrison offers a superb performance of slap stick humor in a scene towards the end when he tries to trick his wife. Unfaithfully Yours moves at a clip and in spite of a few corny jokes stands up to the test of time. In the 1980s, they did a remake of Unfaithfully Yours starring Dudley Moore. I doubt it could match this clever film.

The Criterion Collection version includes a bonus feature with Terry Jones of Monty Python fame describing how he discovered Preston Sturges and his thoughts on the film.
At first Alfred wants to give his wife the benefit of the doubt, but other people want to tell him that his wife was found leaving his secretary’s hotel room in a negligee in the middle of the night. Soon Alfred’s high minded ethos are out the window and while he’s conducting a symphony concert, he’s plague by different scenarios involving confronting Daphne about this affair.

Each variation is more comical than the last. Directed by Preston Sturges, Unfaithfully Yours is a madcap comedy with a perspicacious take on jealousy. I particularly liked how well music was worked into the story and how each piece fit Alfred’s mood to a T.

The psychology of jealousy is explored to the limit. Harrison offers a superb performance of slap stick humor in a scene towards the end when he tries to trick his wife. Unfaithfully Yours moves at a clip and in spite of a few corny jokes stands up to the test of time. In the 1980s, they did a remake of Unfaithfully Yours starring Dudley Moore. I doubt it could match this clever film.

The Criterion Collection version includes a bonus feature with Terry Jones of Monty Python fame describing how he discovered Preston Sturges and his thoughts on the film.