Coeur fidèle

In 1923 Jean Epstein had his greatest success with Coeur fidele, a cinematic expression of his theories. Shot on the Marseille waterfront, Coeur fidele features a "cast" of down-and-out characters, colorful cafés, and quays. The story is of a romantic triangle, however, utilized such innovative devices as non-sequential timelines and flashback sequences. Epstein strapped the camera to a merry-go-round at one point to provide images of increasing twirling and dizziness.

Coeur fidele is a contemporary romance whose poetry of the waterfront combines a sordid realism with a stunning visual lyricism- the film is early evidence of Jean Epstein's concern with exploring the expressive possibilities of the cinema. Instead of developing the story conventionally through dramatic confrontations... Epstein emphasizes simple patterns of rhetorical figuring and several ambiguous sequences of privileged subjectivity. In addition, Coeur fidele makes use of an astounding and memorable close-up of it's protagonists staring hauntingly through a window. Gina Manes face (as she looks out of the dirty bistro window)- in a stunning and beautiful image that seems to hover over the narrative itself- that floats over the water of the squalid, dismal harbor.

As previously mentioned, Coeur fidele is a love story in which Marie Epstein plays a minor but significant role as the crippled neighbor of the heroine. As the lovers are reunited (enabled by Marie's shooting of the villainous and drunken husband), the heroine's sick child remains in the dingy apartment as Mademoiselle Marice, dazed by her violently provoked action, cradles the infant on the wooden stairs. There are the last images of Marie, inter-cut with shots on the happy couple on the carnival ride that had been the scene of their separation.

The merry-go-round sequence in Coeur fidele has become an accepted "classic" of cinematic impressionism, as many viewers were (and are) greatly impressed by the striking sequence set on the merry-go-round, on which the heroine rides while in a state of extreme mental agitation. Epstein, inspired by Abel Gance's La Roue, experimented in this scene with the editing of very short bits of film in regular, rhythmic patterns. This section of rapid montage and camera movement has been called by Rene Clair "visual intoxication."

This is a masterpiece, I repeat, this is a masterpiece!! I was studying for my cinema exam and this one right away caught me. It's clear that the aesthetic aspect and camera work (and the editing) are the centre of it all but the plot and its structure must not come second. It's a genre that has as its main goal the subtle representation of the characters' psyche, more than the plot itself. The performances were absolutely amazing, especially by the protagonist in the role of Marie. Even though it was not the goal all I see is a powerful strong feminine character that even though she doesn't go through a proper arc I could feel on my skin what she was feeling and thinking all the time, also thanks to her subtle and intense performance. If this film came out today I'd probably give her all the awards on this Earth. I loved it so much.

Coeur Fidèle, a forgotten movie today, is very representative of the best that European cinema had to offer at the beginning of the 20th century. The formal beauty of the images in this picture have rarely been matched in the whole history of cinema. Some scenes of this movie, like the one of the fair, with the girl riding wood horses with her kidnapper is very audacious, there for instance Epstein uses very effectively the pace and juxtaposition of the images to depict the intensity of her emotions.

The audacity of Epstein, very influenced by cubism and surrealism, takes us from a very banal story to a breathtaking intellectual adventure.

Who, even among the proudest of film geeks, even knows the name, Jean Epstein, in today's world of comic book hero movie franchises and the indiscriminate remaking of films that were perfect to begin with, e.g. Psycho, The Ladykillers, etc., And even-in the case of Halloween-Correct me if I'm wrong, a Third remake, and yes, I'm gonna go there the FOURTH REMAKE OF A STAR IS BORN!-ENOUGH! I, admittedly, fairly recently, discovered the genius of Jean Epstein-after finally discovering silent Genius, Abel Gance-And Thanks to God or whatever, I discovered a whole World of artistic genius within the silent era, that I am truly grateful for stumbling into....Coeur Fidele is a brilliant work of uncompromising artistic integrity...Go on, give it a shot -you just may discover something about Artistic Expression you didn't even know exists. . . . -todd gold

One great benefit of watching many films is experiencing them conversing with each other. Some anticipate others, some quibble, some steal, inspire, annotate. Epstein's "Coeur fidèle" (1923) enriches one of my favourite films, Vigo's "L'Atalante" (1934), which in turn enriches Epstein's film tremendously. Both move in a dreamlike world of incessant flowing of breathtaking images that are able to fill whole movies with their individual stories. Both see love in highly cinematic terms, something which I've most recently encountered in Wong's "Fa yeung nin wa" (2000) and Malick's "The New World" (2005). I also find some Epstein in Kaurismäki, as well.

There are so many unique moments of delight it's impossible to list them all. The first few minutes of exposition are masterful in how they paint the atmosphere, the characters, the visual mood of the film in so short a time. Characters sift out of focus and into focus again, Epstein's eye catches an object, a moment not directly pertaining to what's happening but where it's happening and how. The impression is so strong I'm not going to get this out of my head for a long time. And I don't want to.

The film has been released on Blu-ray (Region B) by the Masters of Cinema series, whose transfer is breathtaking.