La dame de Monsoreau

It is well-known that French love matters make for a very complicated subject to understand, especially for a German and conservative aristocrat. Having this in mind , it was a hard task to watch in the Schloss theatre a film like "La Dame De Monsoreau", ( directed by Herr René Le Somptier, based in a novel by Herr Alexandre Dumas Sr.) which goes into specific details about French love affairs in the time of Henri III, a French king, natürlich!. The story concerns Dame Diane de Méridor who is kidnapped by the Count of Monsoreau who finally marries her ( A strange French marriage custom, this, very different from the usual Teutonic reasons for marriage, as the marriage of convenience or companionate marriage.. ). However, Dame Diane loves another count, the count of Bussy ( what's the point of this aristocratic loving reiteration? ), not to mention that the King himself and a Duke, d'Anjou , have different interests in Dame Diane and her circumstances.

This French show of aristocratic love matters was directed by Herr René Le Somptier, Frenchman director with a special likeness for romanticism and aestheticism in his early work as exemplified by this beautiful film. This is an artistic production filmed in the surroundings of the château ( a strange and French name for a Schloss, certainly… ) d'Urville-Nacqueville. The set design is superb and there are gorgeous costumes too, not to mention that this oeuvre was released in a hand tinted version, the one that survives till today, released two years after its black and white prémiere.

So in its global concept, "La Dame de Monsoreau" could be considered as a "film d'Art", a film with historical background and careful production. Alas, in this case it is thrilling to look at but static, like a series of illustrations. The actors don't help to raise the interest of the film thanks to their stilted performances including Dame Geneviève Félix as Diane de Méridor. The result is a polished but soulless French film.

And now, if you'll allow me, I must temporarily take my leave because this German Count must resume his conservative Teutonic love matters.

The silent version of the Dumas story which had already been filmed by Maurice Tourneur, is an example of the French historical romance line ROBERT MACAIRE or Renoir's The TOUURNAMENT which critics tend to ignore though they persists to the present.

This one survives in an attractive, hand tinted copy which gives it a little more interest, presenting the historic locations and elaborate costumes nicely, though the film is on the stodgy side.

Major point of interest is the central performance by a young Gina Manés soon to be Josephine to Gance's NAPOLEON and the star of the now lost Feyder THERESE RAQUIN and Duvivier's remarkable LE TETE D'UN HOMME. She is at her most appealing though her sultry femme fatale characters of the later films are more imposing.