Bel Ami

Even at the height of the Third Reich, the name of Willi Forst - star and director of this literary adaptation - stood for a certain ironic detachment and class, and this witty, pacey film doesn't disappoint. The story of how a journalist claws his way to the top while bedding a whole row of society ladies might, one would have thought, have struck a resonance with Goebbels, who as film minister had the opportunity to ban it if he wished - but apparently he wasn't blessed with sufficient self-consciousness to recognise the implied dig. Even if its contemporary satirical intent is perhaps overstated, the film is a real pleasure to watch - most notably for poor Lizzi Waldmueller, who was killed by shellfire towards the end of World War Two and who here sings the film's catchy theme 'You have luck with the girls, Bel Ami' surrounded by a bevy of cartwheeling can-can dancers. Good too (as always) is Hilde Hildebrandt as one of Duroy's society lovers.

Already before he made this movie Willi Forst was the "Bel Ami" of the UFA era. Through this film, which is clearly one of his very best, we can see him, as he was seen during his most successful time. The movie is dominated by Theo Mackeben's immortal song "Du hast Glück bei den Frauen, Bel Ami" performed by Lizzi Waldmüller.

Willi Forst is demobilized from Morocco. He returns to France and after a night in Paris hasn't a sou in his pocket. A chance encounter with an old friend who is now a journalist, good manners, and bravery when he doesn't think about it, all endear him to a series of women who gradually push him upward and onward as various characters institute a governmental crisis over Morocco.

Forst also directed and co-wrote the screenplay form the de Maupassant story, and I was pleasantly surprised. With a release in 1939 -- albeit in early 1939 -- I expected some sneering at the French. True enough, it does seem to be a society that is run by women, but oh, such charming and beautiful and kind and intelligent and patriotic women! Meanwhile, the motivation of the men seem a lot more base, usually a matter of making millions through speculation in Moroccan land, or outright bribery.

Perhaps Goebbels, in his imagined control of every aspect of German film-making, thought a charming piece of fluff was called for; occasionally, and this was it perhaps Forst was a profitable enough film maker that his desire to do this movie his way could not be gainsaid. Or perhaps the producers simply pointed out that good films brought money in from foreign lands, and everyone knew how the French carried on. Whatever the motivation for making this movie in such a way, it is charming and ultimately good-hearted.