Entfesselte Leidenschaft

Two years after Becker's excellent 'Goupi mains rouges' we have another everyday story of country folk from Jean Dreville which in its own way is just as compelling. Set in the Pays-de-la-Loire during the inter-war years this is a brilliant depiction of those who earn their livelihood from the soil. Following the death of their father four siblings are left to run the farm. Francois the eldest forbids his sister and two brothers to marry so as to avoid dividing up the domain. One by one they drop away, the sister and one of the brothers leaving for the city and the third brother paying a truly terrible price for his incessant womanising. Francois, no longer a young man, is now obliged to work the land single-handedly for eleven years and when his sister returns to the fold with her son, Francois is happy to know that he finally has an heir......... The casting is spot on here and the performances out of the top drawer, notably Alfred Adam as the skirt-chaser and Charles Vanel as the elder brother. The consistent quality of Vanel's work over a phenomenally long career speaks for itself and he succeeds here in making a tough and uncompromising character sympathetic. There is a small role of a saddler played by Bourvil and although it is generally regarded as his film debut, he had in fact made two films before this billed as Alain Grimor. The cinematography of Andre Thomas and the score by Marcel Delannoy are evocative and contribute immeasurably to the drama. I had hoped for quite a while to come across a film of Dreville's about which I could unreservedly enthuse and my patience has been rewarded. Everything 'gels' here and Dreville himself understandably considered this powerful piece to represent his best work.

The story ,even if takes place when agriculture was beginning to modernize (the threshing machine) ,was arguably inspired by Emile Zola's "La Terre".Vanel's character recalls the Père Fouan even if he does not want the earth to be shared between his brothers and sister.He loves the earth and nothing else and the conclusion of the film proves him right ,at least to the authors' eyes.

"La Ferme Du Pendu" (The hanged man's farm)is a rural melodrama ,without the thriller side of contemporary works such "La Ferme Aux Loups" or the celebrated "Goupi Mains Rouges" .Its depiction of the peasants is less caricatured than in Becker's work.The long scene of the wedding is excellent ,complete with songs (Bourvil in a supporting part sings one of his "logical" songs ),the bridesmaids' lament which goes on repeating that marriage carries away romanticism and true love ,blue jokes ,and a curious dance where the guests jump over chairs .

The movie transcends clichés :the farm girl who got pregnant by one of the brothers ,the bad boy who finally realizes that a child could be his salvation.Even if the word is not uttered ,the master of the farm wants his servant to have an abortion .

If Charles Vanel is great as the patriarch (actually the eldest brother),he is matched every step of the way by Alfred Adam ,a lady killer who becomes disabled and who turns mad before hanging himself desperate because of the child he would never have.

"La Ferme Du Pendu" is arguably one of Jean Dreville's three best movies (the others being " Les Affaires Sont Les Affaires" and "Le Visiteur";let's forget his celebrated tear-jerker , "La Cage Aux Rossignols " remade as "Les Choristes ).

This movie depicts with precision and sobriety the life and ordinary dramas of a rural french community, probably in the 30's or 40s, at a moment where traditional ways of life began to be questioned by the younger generation. It never falls into melodrama, on the contrary, the emotions are contained and the most tragic events are treated simply, with moderation and gravity. I was particularly moved by this simplicity, very much in tune with the mentality of earth's people. The earth is alpha and omega for François, the elderly brother who acts like a patriarch. Vanel delivers a very strong performance in this role tailor-made for him. He is very moving in the last part of the film, when old age has softened its harshness a little. It's also nice to discover Bourvil in one of his very first performances.