Zaza

While watching it, I found a remarkable similarity between the movie and a still alive Great Actress of that time (the play was of 1898), whose name was even mentioned in the movie once, though not in the context, Sarah Bernhardt.

Some natural changes (and a few major ones) were made. Most probably, this being Hollywood Production, even in non-code era, some codes needed to be followed. But that didn't really hide the similarities to great extent.

If We equate Zaza to Sarah, Rigault (the avuncular manager) was almost like Alexandre Dumas, who had been a similar paternal mentor (sans the managership) of Sarah. Florianne could well be Zaire-Nathalie Martel, the senior actress of Comédie-Française, with whom Sarah indulged into physical. Though that was on different context, due to the mistreatment meted by madama Nathalie to Sarah's kid sister, but that too was a cat-fight alright. Here for a change the two made up, where as in real life Sarah and Nathalie didn't.

Bernard Dufresne was obviously Prince Henri Maximilien Joseph Charles Louis Lamoral de Ligne. Here a small 'moral' change had to be done, probably due to censor or censure - the absence of physical relationship, that had in real life culminated into the birth of Sarah's only child, Maurice. The parting was necessitated by 'state affairs' and 'diplomatic act' though a bit different type. Here the child's, of a different gender, mother was Defresne's wife, not Sarah (Zaza).

The Duke, and other lovers, that happened in real life, was naturally not permitted to happen here, the morality clause issue. Of course movies like La Boheme or Camille didn't stop the heroine from becoming mistresses of dukes or Barons. Here too that should have been done, instead of Duke trying to make her a morganatic duchess.

When the Prince comes back much later, in real life as well as in movie versions, to accept the child as his own, despite having shirked from the responsibility earlier. In the later movie version (1939), Zaza rebuffs him, whereas in the real life, the son, Maurice did, telling him in no unclear terms, that he was proud to hold the Bernhardt name, and didn't need another. The variation here could have been audience demand.

The temper of Zaza was remarkably similar to Sarah, who too would throw things at people, at slightest context.

There are many other factors, like rise of Sarah from Starlet to Star, after Prince Episode, or her works during war, trying to cheer up the soldiers, despite being sick and almost immobile (and with one leg amputated). Here of course Zaza is still young, but she was active in war efforts, at least so hinted in the passing comments.

I wonder didn't Sarah herself notice these, she was not only alive but at her prime during this period (1898, theater version, not the movie), or was the theatre better masked to hide similarities ?

ZAZA is as comforting as a chocolate croissant. It is not groundbreaking or original, but it is a well-executed romantic comedy boasting one of the silent era's greatest stars in her prime. For those who only know Gloria Swanson as Norma Desmond, ZAZA shows her at her best advantage as both a dramatic actress and comedienne. Much of this movie is laugh-out loud amusing, with Lucille La Verne stealing scenes as a parrot-totting dipsomaniac.

I am not a fan of tear jerkers in which women must suffer because they've fallen in love with a married man. Nonetheless, I greatly enjoyed this movie, in no small part because star Gloria Swanson treads the difficult performance between misery and self-mockery so adroitly.

I was just settling into grudging appreciation when Miss Swanson began to play the piano and accompanist Ben Model broke into "I Can't Help Falling in Love With You". The next time the sheet music was displayed, I checked. The title was "Plasir d'Amour" but the notes were the Elvis Presley hit. I only hope that Ben has a chance to explain it to the audience before the next performance.

That settled, I began to appreciate the movie again and it grew with each scene. Allan Dwan got superlative performances out of his actors, including the usually boring Mary Thurman. By the time the movie ended and there were no villains, I realized this was as good as a popcorn movie gets.

I don't know when you'll get a chance to see it -- the only known complete copy is at the Library of Congress and there's some blurring and minor decomposition towards the end. However, if the chance, comes, see it.

Zaza (1923) : Brief Review -

A Gloria Swanson melodrama to remember - before Saddie Thompson, and all thanks to Berton's French Classic for that. I tried to catch Zaza's earlier silent version of 1915 but couldn't find it, and I didn't want to watch Cukor and Claudette Colbert's talkie version before this. The second cinematic adaptation of Zaza, by Allan Dwan, came during Swanson's peak period, which may explain why it is more likeable. In the beginning, I thought Zaza was nothing but a female version of Buster Keaton or Charles Chaplin because there was so much fun for a while. Then it took a melodrama form to convert itself into a romantic drama, but that was predictable for any smart movie buff. Zaza is an actress and a favourite at an open-air theatre in a small French town. When diplomat Bernard Dufresne comes to the village, he stays away for fear of falling for her. But when Zaza is badly injured, he has no choice. They both fall in love, but part their ways when Zaza learns the truth he has hidden from her. Zaza is quite enchanting till halfway, and then it becomes dramatically sentimental in the second half. I might have hated this story in the talkie era (early review of Cukor's film), but for the 20s, I think it was pretty nice. Though I must say, for the 1915 version, it would have worked better. Gloria Swanson is simply lovable in this all-gay-all-tragic role. The way she fights with Regault (Riley Hatch), I mean, their women-type chemistry, is entertainment. I have seen H. B. Warner's later films from the 30s and 40s, but this was my first film from the 20s. I kind of liked him, but those talkie roles have a better impact on me, so it's a little below the mark and I also think it's a little unfair of me. Overall, it's a good melodrama for contemporary filmmaking. Allan Dwan delivers a faithful and deserving adaptation of Berton's French Classic, which we have all loved for years.

RATING - 7/10*

By - #samthebestest.

Gloria Swanson plays Zaza, a spirited French music hall star who battles her rival (Mary Thurman) and chases after a rich man (H.B. Warner) only to get her comeuppance.

In a stretch for Swanson, Zaza requires her to portray a French woman in a silent film. Through gestures and facial expressions she succeeds admirably in playing a character unlike any other in her long career. The brazen Zaza is always adorned with the letter Z on her clothing, jewelry, hats, etc.

The film is marked by a terrific music hall sequence in which Swanson swings way out over the audience and tosses flowers down on various men. Thurman cuts the rope and sends Swanson smashing onto the floor. Later they have a great catfight scene in the country cottage Warner houses Zaza in.

Lucille LaVerne is the drunken aunt. Ferdinand Gottschalk is the duke. Helen Mack is the daughter. Yvonne Hughes is fun as the maid.