Stavisky...

Irresistible charm and talent helps Serge Alexandre alias Stavisky, small-time swindler, to make friends with even most influential members of French industrial and political elite during the early 30s.

The film began as a commission by Jean-Paul Belmondo to the screenwriter Jorge Semprún to develop a scenario about Stavisky. Resnais, who had previously worked with Semprún on "La Guerre est finie", expressed his interest in the project (after a gap of six years since his previous film); he recalled seeing as a child the waxwork figure of Stavisky in the Musée Grevin, and immediately saw the potential of Belmondo to portray him as a mysterious, charming and elegant fraudster.

It seems like most historical French films either take place during World War II (focusing on the occupation) or are in some way related to Algeria. This one really has neither, because it is set between the two world wars, with some interesting supporting characters (Leon Trotsky!). I had never heard of Stavisky, but now I'd be curious to know more (despite having no real passion for French history).

"Whew..." If you liked "Enchanted April" or "Harold and Maude" "To Kill a Mocking Bird"...."Stavisky" rates amount them, as an old time Impressionistic work of film Art.

Stephen Sondheim, liked the movie, enough, to write the music for the picture. Rarely, does Sondheim write for film. "Reds" and one other perhaps.

The soundtrack is available with the Lincoln Center's concert performance of "Follies". I am so grateful they have kept this music alive for us.

Takes place in the 20's, mysterious gangsters, French, Monte Carlo, and a charming love story. Casting is perfect. Cinephotography is hazy like an impressionistic painting, texture, faded color, but warm in tone. The Art Direction is breathtaking, with vintage clothes, automobiles, airplanes, white roses, fragrances, smooth satin movements,with that the "haunting music" which enriches each shot. BRAVO

This film is individual enough that it's easy to overlook it's being one of a series of similar stories: The Way We Live Now (based on a real figure), The Great Gatsby, Madoff. Unlike the first and last, but somewhat like Gatsby, this film makes the central character likeable, largely by emphasizing the ambiant anti-Semitism that surrounds him (and of course by casting Belmondo in the role). This theme gives more meaning to the curious character of a German Jewish woman, who plays no obvious role in Stavisky's life, but who might be viewed as his direct opposite in a number of ways, not least her proudly proclaiming her origins. The story itself is fairly episodic, showing specific situations and outcomes, but without really making them interact in a way that drives them forward. They just take their expected place in the sequence. The main reasons to watch this film are the actors, including not only an aging Charles Boyer and a young Depardieu, but a host of actors whose careers only grew from there. Certainly, if you're a fan of beautiful cars and beautiful women in beautiful clothes, especially in the Thirties, the visual beauty of this film is also a major reason to watch it.

Unusually for Alain Resnais he has opted for the superficial here and by his own admission has gone for 'theatricality'. It cannot fail to look good with Sacha Vierny behind the camera and Jacques Saulnier as designer but beneath the glitz, the glamour and Stephen Sondheim's trite score, we are left with a vapid and empty exercise. Should 'style over substance' appeal then this is definitely your tasse de thé.

The director was reluctant to entitle this piece 'The Stavisky Affair' as this would presumably have obliged him to show the far-reaching consequences, both political and economic, that resulted from Stavisky's massive stock swindle. He has however chosen to insert a bizarre sub-plot involving the exiled Leon Trotsky which contributes nothing whatsoever dramatically and merely serves to advertise Monsieur Resnais' leftist credentials.

Stavisky himself was a sociopathic, narcissistic con-man, the type that proliferates in the murky world of Finance, but is here played by Jean-Paul Belmondo, always mindful of his image, as a gentleman thief. He is very, very good in the role but Jorge Semprún's script renders him little more than a cipher. The same might apply to the other insubstantial and shadowy characters, played by Francois Périer, Michel Lonsdale, a beautifully costumed Anny Duperey and a singularly creepy Claude Rich.

The most fully drawn character is Baron Jean Raoul, not least because he is portrayed by the splendid Charles Boyer who simply saunters away with the film. This represesents a dawn in the careers of Gérard Depardieu and Nils Arestrup but alas a sunset in that of Monsieur Boyer. The passing of this immaculate, consummate artiste marked the end of an era.

I didn't realize, until I went to Saulnier's page, just how much my experience of French film of the 1960's and 70's was shaped by this man's vision. He was production designer or art designer for Les Cousins and A double tour (Chabrol); Les Amants and Le Voleur (Malle); Marienbad, Muriel, La Guerre est finie, Providence as well as Stavisky... (Resnais); Le Chat and La veuve Couderc (Granier-Deferre). As well as his tremendous work on these art-house films, he worked on box-office successes like French Connection II, What's New, Pussycat and Le Clan des Siciliens.

I am discussing the art direction and the lovely costumes by Jacqueline Moreau (Anny Duperey looks ravishing in those gowns--and that jewelry!) because I find little else to talk about in this glacial exercise in political cinema. Characters mutter about bringing down the left-wing Daladier government and effecting a fascist takeover of power; it's as though Stavisky's fiscal film-flammery is just a side show, when in fact it's the central story. Why do we see Trotsky in two scenes, and why does he never speak? The idea of Trotsky remaining silent as his future is being discussed--that's startling. A simple check of the history of the time will tell you that the Front populaire triumphed in the June 1936 election, so there was no fascist takeover.

Happily, there is fine acting from Charles Boyer (it's one of his finest roles) and Francois Perier as Stavisky's adviser--one of the toughest jobs anybody could have, as it involves giving sage advice to a wild-eyed dreamer. Silvia Badescu has an impressive scene as a young Communist actress who rehearses a scene with Belmondo.