Das Leben des Emile Zola

Handsomely mounted in the Warner Brothers style of the 30's, and topped off with a stirring Max Steiner score, "The Life of Emile Zola" (***) remains a passionately engrossing experience. Refreshingly, the film admits upfront right after the opening titles that it's a fictionalization, something that isn't done nearly as often it should be in today's purportedly "true story" docudramas. (These days, this disclaimer is often buried in the fine print at the very end of the credits after nearly everyone has left the theater.) Even so, "Zola" remains remarkably true to the facts. It skips lightly over the author's early years in the first 20 minutes and then soars to gripping dramatic heights in the outrageous libel trial that Zola underwent after he published his celebrated "J'Accuse" which condemned the hypocrisy and corruption of the military establishment as it falsely accused high-ranking Captain Alfred Dreyfus of treason and then attempted a massive cover-up when it realized it had made a mistake. The movie has been criticized for underplaying the anti-semitic aspects of the Dreyfus prosecution, but it's implied quite neatly in the scene where the camera pans down Dreyfus's resume to his religion while one of his superiors marvels how "someone like that" could became an officer. The film does indulge in some pretty fancy compression towards the end. It implies that Dreyfus was reinstated in the Army right after returning from Devil's Island and on the same day as Zola's tragic accidental death. However, according to the Encyclopedia Britannica, the real facts are even more disturbing and incredible. In 1899 after his return, Dreyfus was retried and found guilty again by a court tribunal! However, he was pardoned by the President. He was finally cleared of all charges and reinstated in the service in 1906, four years after Zola's death in 1902. Interesting sidelight: Zola and his devoted wife had no children but he did carry on a 14-year affair with one of his housemaids that produced 2 children. I guess there's no way the Warner Brothers were going to complicate the image of their hero as a saintly crusader for truth and justice by including this spicy little domestic tidbit.

I highly recommend "The Life of Emile Zola" for the brilliant performances of Paul Muni, Gale Sondergaard, and Joseph Schildkraut. (Although I still must admit I'm surprised by Schildkraut's Oscar victory...although he certainly does a good job as Alfred Dreyfus, the role doesn't really give him much opportunity to demonstrate his talents. Dreyfus is not shown in any depth; his role consists almost entirely of protesting his innocence and languishing in prison.)

Strong performances aside, though, I do have some problems with the film. It strikes me as very odd that a film that makes such a big deal about "the truth" is so hesitant at actually depicting it. One of the key issues of the Dreyfus affair, anti-semitism, is never even brought up. The only reference to Dreyfus' Judaism is a passing glimpse on his personnel papers. The filmmakers' reluctance to address such an important part of the story does a disservice to history.

Émile is like the Julian Assange of 19th Century France, though certainly less dramatic. He comes under intense criticism as his books gain popularity and the censors are under pressure from the government and the French Army to stop them. The Dreyfus Affair was still well-known at the time of the film's release, but as a person watching for the first time 75 years later I got a little lost. I failed to see the connection between the two seemingly unrelated sub-plots and the ensuing period where there was little to no appearance of the film's namesake. This was eventually cleared up for me but the reliance on assumed knowledge was not very forward-thinking. One quibble is that the women did not seem to age, I had a similar complaint watching Cimarron; throughout the decades covered by the film Zola got older and cuddlier, Dreyfus aged even more...yet their wives hardly aged a day. I wish I knew their secret. Snaps for Joseph Schildkraut whose portrayal of Captain Alfred Dreyfus scored him an Oscar® for Best Supporting Actor. It was a good film and certainly highlighted the level of corruption in France at that time, as well as rooting for the underdog. I must procure one of Zola's books and check him out.

In 1937, The Life of Emile Zola was nominated for the largest number of awards, ten. The movie won three including Best Picture. However, sadly and in some ways shamefully, this film has been ridiculed for being dated today, it's ways and means a little obsolete, and it's style rather unusual. That is downright unjust! The style which is portrayed in this remarkable seventy year old film is quite conventional. The dialogue is perhaps overwritten, but the powerful story is there, and the story line is enhanced by intelligent dialogue to say the least, as well as, first rate performances by an excellent cast, preferably Paul Muni (giving possibly his best performance) as Emile Zola and supported well by Joseph Schildkraut as Dreyfus. Not to mention, the film is technically excellent. Editing, costuming, lighting - without doubt, and all the production values stand up beautifully even several decades later.

Sure it's a fictionalized version of the life of the great French writer Emile Zola, however, great fiction can make a great film and that is the case with The Life of Emile Zola. One may forget that this film was released in 1937 when anti-Semitism was again sweeping the continent of Europe, and for that very reason, the word "Jew" is never mentioned and we are only given a short visual reference. To avoid lawsuits from their descendants, only Major Dort and Major Esterhazy names were specifically identified. Others are referred to as the Chief of Staff, the Minister of War, etc. Also, Dreyfus was not freed and restored to rank in 1902, the year of Zola's death, but in 1906 after being found guilty again in an 1899 retrial. These historical errors can be forgiven, because it's the films message which stands and given the current climate, the movie's message is all the more important.

The shifting focus of this film doesn't make it a frustrating experience for modern viewers. In fact, the film flows quite nicely: struggling writer, gets in trouble for his book, then the film follows Zola's success as he becomes a powerful force in society. Eventually we get to 1894, where many claim the film to zoom away from its subject, where the film begins to focus on Dreyfus. With that being said, if you sit down to watch The Life of Emile Zola, don't skip the first third of the movie, because it's every bit as moving and powerful as the dramatic court scene, most notably in the unforgettable self-defense scene in which Muni delivers an outstanding performance.

Unfortunately, had Muni not won the previous year for another biopic, The Story of Louis Pasteur, he would have received the Oscar for his portrayal of Zola. Muni was not only nominated for an Oscar for this role but also received awards from many critics groups. Today many dismiss the significant talent of Muni (one of films first devoted actors), however, one cannot deny he had a great deal with elevating the art of film acting.

Of Paul Muni's three biographical films made at Warner Bros. and directed by William Dieterle (the others were THE STORY OF LOUIS PASTEUR [1936] and JUAREZ [1939]), this was the only one which had never been shown on TV in my neck of the woods; ironically, it was the first to make it to DVD - but, then again, it is the most highly-regarded of them! Still, given the film's reputation (Best Picture Oscar Winner, Leonard Maltin rates it **** in his "Movies & Video Guide"), I somehow expected a masterpiece - but, personally, I feel that Dieterle's THE DEVIL AND DANIEL WEBSTER (1941) and THE HUNCHBACK OF NOTRE DAME (1939) are greater achievements. Even so, it's been sometime since I watched a vintage old-style Hollywood film; of late, I've mostly been concentrating on Euro-Cult and World Cinema stuff - but, really, there's no beating the professionalism and sheer entertainment value of a product from the cinema's Golden Age!

The film strikes a good balance between Zola's literary career and his struggles for social justice: the latter is mostly devoted to the Dreyfus affair, a veritable cause celebre at the time (cinematically treated two more times in DREYFUS [1931] and I ACCUSE [1958], neither of which I've watched though the latter had turned up some years back on late-night Italian TV!), culminating in one of the finest courtroom scenes ever filmed. Production values are top-notch, the Oscar-winning script appropriately literate (though the constant speechifying and the film's two-hour length - by contrast, LOUIS PASTEUR had been less than 90 minutes but, then, the epic and star-studded JUAREZ was longer still - make for a somewhat heavy-going experience) and Dieterle's handling virtually impeccable; the only unpersuasive aspect, perhaps, is the one-dimensional portrayal of the corrupt French military who callously sent Dreyfus to Devil's Island for treason, and left him there to rot for years - even after they had found absolute proof of his innocence, because that would have meant admitting to a mistake!

The cast is filled with wonderful characters actors whose familiarity - and reliability - allows utmost audience involvement every step of the way, despite Hollywood's typically idealized viewing of events. Best of all, naturally, are Muni as Zola (simply brilliant, especially during his show-stopping speech at the trial, and who even ages convincingly!) and Schildkraut (a touching Dreyfus who, in spite of his relatively brief appearance, managed to walk off with the Best Supporting Actor Oscar - though, personally, I would have voted for H.B. Warner in LOST HORIZON [1937]!).

Unfortunately, the audio level on Warner's otherwise exemplary DVD is rather low; the supplements include three vintage shorts (described in more detail below), as well as the full 1-hour broadcast of a radio adaptation of the script (obviously compressed but also including some minor additions) - presented by Leslie Howard (who, at the end, even interviews William Dieterle!) and featuring Muni himself, accompanied by Josephine Hutchinson (stepping in for Gloria Holden, who had played Zola's wife in the film).