Forbidden fruit.
Considered by Voltaire to be 'the masterpiece of the human mind' this is the final and arguably the greatest of the plays written by Jean Racine between 1664 and 1677. Ever since Marie Champmesle created the role it has been considered a supreme challenge by every self-respecting tragedienne and one of the greatest interpreters of her generation was Marie Bell. Those who saw Edwige Feulliere and Maria Casares in the role were likewise deeply privileged.
In this beautiful adaptation directed by Pierre(brother of Louis) Jourdan, it is Marie Bell who reprises her role for the camera. One would have to say that in cinematic terms she has become a wee bit long in the tooth for the role but one soon overlooks this as her delivery of Racine's Alexandrine verse is magnificent. Ironically her age here makes her love for her stepson Hippolyte even more tragic. In keeping with the theatrical constraints of the day which permitted neither action nor physical contact, Racine is all about the glorious verse which alone conveys the passion and psychological penetration of the protagonists. In this respect every actor is superb and each has been perfectly cast.
Of course a few speeches have been truncated and some scenes cut altogether but as we have seen in Shakespeare even the classics are subject to the compromises of film.
Recent productions have purposely gone out of their way to avoid stylisation for fear of alienating a modern audience but I feel this robs the characters of their grandeur. It is a difficult balance to strike but I know which I prefer. Call me old fashioned if you like.
As well as the splendid performances the film is enhanced by the gorgeous cinematography of Michel Kelber, the sumptuous art design of Leon Barsaq and the use of ravishing music of the French Baroque.
Even allowing for the unfortunate absence of William Packard's original English subtitles I am truly perplexed and saddened at the lack of any reviews for this piece fifty years on from its release.
I have felt compelled to post this review and fervently hope that it is not destined to languish in isolation.
In this beautiful adaptation directed by Pierre(brother of Louis) Jourdan, it is Marie Bell who reprises her role for the camera. One would have to say that in cinematic terms she has become a wee bit long in the tooth for the role but one soon overlooks this as her delivery of Racine's Alexandrine verse is magnificent. Ironically her age here makes her love for her stepson Hippolyte even more tragic. In keeping with the theatrical constraints of the day which permitted neither action nor physical contact, Racine is all about the glorious verse which alone conveys the passion and psychological penetration of the protagonists. In this respect every actor is superb and each has been perfectly cast.
Of course a few speeches have been truncated and some scenes cut altogether but as we have seen in Shakespeare even the classics are subject to the compromises of film.
Recent productions have purposely gone out of their way to avoid stylisation for fear of alienating a modern audience but I feel this robs the characters of their grandeur. It is a difficult balance to strike but I know which I prefer. Call me old fashioned if you like.
As well as the splendid performances the film is enhanced by the gorgeous cinematography of Michel Kelber, the sumptuous art design of Leon Barsaq and the use of ravishing music of the French Baroque.
Even allowing for the unfortunate absence of William Packard's original English subtitles I am truly perplexed and saddened at the lack of any reviews for this piece fifty years on from its release.
I have felt compelled to post this review and fervently hope that it is not destined to languish in isolation.
- brogmiller
- 3 jun 2021