César

Following his sterling work in the first two episodes Raimu finally gets to play the eponymous character in the wind-up. It's impossible to overpraise this outstanding actor, dead in his 60th year with a far-too-meagre body of screen work as his legacy. Orson Welles once called Raimu the 'greatest actor who ever lived' and anything good enough for Awesome Welles is more than good enough for me. A local lad, Raimu spoke with the accent of the 'Midi' and whilst directing the first part of the trilogy, 'Marius', Alexander Korda, hired by Pagnol to direct, remarked to Producer Pagnol that Raimu's accent was execrable and would not be understood outside Provence. Pagnol's reply not only did him credit but was a classic. 'Monsieur Raimu cannot be replaced. You can'. Nuff said. Here, some five years after he first played Cesar on film and seven since he created the role on stage, Raimu segues seamlessly into the middle age of the character and gives an Acting Class to disciple Charles Laughton, who, in imitating slavishly the Frenchman found only ham and missed completely the filet mignon; indeed the comparison between Raimu and Laughton is akin to the one between Fred Astaire and Gene Kelley, one the one hand a thoroughbred on the other a carthorse. Inevitably with loose ends to be tied up and the death of a major character to accommodate this final episode is destined to disappoint if only because it reminds us of its illustrious predecessors. The 'minor' writer, Pagnol, would continue to write classic tales as all great storytellers do and Raimu would even appear in a couple, The Baker's Wife and The Well-Digger's Daughter, but what he would have brought to 'Papet' in 'Jean de Florette' and I write as one whose admiration for Yves Montand knows no bounds. 9/10

I appreciated writers reign's comments which I fully agree with. I would just like to say that I have in hand Pagnols' memoirs entitled "Confidences" published in 1981,i.e.7 years after his death.Pagnol states that he got along very well with Korda when "Marius" was shot for Paramount.Korda told Pagnol:"It's my first talking picture.I know what you don't and you know what I ignore.We should do a good job together". Actually,according to Pagnol,it's Korda himself who answered a complaining sound recording engineer:"Mr Raimu cannot be replaced.You can".Raimu bought the man a drink and they became good friends. I hope I did not hurt your excellent correspondent's feelings.I am just luckier to have Pagnol's memoirs at home.Thank you for your attention.

This could actually be the best part of the trilogy. It is directed by the author Marcel Pagnol himself, which you can feel, for you get closer to the characters here than in the previous two. It is not Jean Renoir, it is not René Clair, but it is genuine, and like in the two previous parts, the acting is absolutely outstanding, while the one who takes the price is Pierre Fresnay. In the first film he dominates the entire show, in the second he is like an intruder, but here, when he finally re-enters the stage at last, he is just magnificent in all his extremely shifting moods between deep resentment and arduous love that never dies. He finally brings the ship home.

A fitting finale to Marcel Pagnol's touching Marseilles trilogy (perhaps the strongest part of them all), this wise and witty heart-warmer offers more of the writer-director's wonderful dialogue, particularly in the lightly satirical immensely funny opening sequence.

Still, there's enough room for musings on family, friendship and the sacrifices life demands. The cast is top-notch, with Raimu as brilliant as ever, while Fresnay delivers an electrifying speech towards the end.

Some may find the whole affair too slight, contrived and emotionally charged, but trust me, these three pics are definitely worth six hours of anyone's life... at least, anyone who loves good storytelling.

8 out of 10 hilarious deathbed confessions

Criterion / Janus Films

Marius (1931) + Fanny (1932) + César (1936)

"César" (1936): The Grand Finale of the Marseille Trilogy

Written and directed by Marcel Pagnol, "César" is the final film in the renowned Marseille Trilogy, holding a significant place in the golden age of French cinema. The fact that I'm only discovering these films now is a point of self-criticism. It's a serious oversight, especially for someone like me who prides themselves on their love for François Truffaut, to be unaware of Pagnol's trilogy. But perhaps this is a common thread among today's cinephiles-getting lost in the vast sea of information.

Within the context of the trilogy, "César" brings the story that began with "Marius" (1931) and "Fanny" (1932) to an emotional and philosophical climax. The film delves into the years following the events of the previous two films, examining the long-term consequences and impacts of the characters' decisions. From the perspective of both contemporary and period cinema, this makes "César" a significant work of French realism. Pagnol's mastery of dialogue, stemming from his theatrical background, is on full display in this film.

"César" weaves together all the themes and characters of the trilogy, crafting a magnificent conclusion to the story. Raimu's performance as César is not for nothing considered one of the most impressive acting examples in cinema history. The depth, complexity, and human aspects of César's character are brought to life perfectly through Raimu's extraordinary talent. The film goes beyond being just a family drama, touching upon philosophical themes such as the transience of life, the power of forgiveness, and intergenerational relationships. At times, I felt like I was reading Victor Hugo, not watching a film.

I would love to explore this trilogy from a filmmaker's perspective.

Yes, this trilogy isn't made up of films you'll watch frequently, but they are magnificent films to watch occasionally and cleanse your soul.

We owe thanks to Janus Films and Criterion for ensuring that films like these don't fade into obscurity.