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 ?

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.

Silent movies of Gloria Swanson that were not directed by Cecil B. DeMille are very hard to come by although Gloria was a fairly prolific silent film actress. Allan Dwan was a prolific director whose career lasted 50 years (1911-1961). It featured movies with Douglas Fairbanks (ROBIN HOOD) as well as John Wayne (SANDS OF IWO JIMA) yet he remains virtually unrecognized today. Despite her long association with DeMille, Swanson said that Dwan was her favorite director so the combination of the two is definitely worth a look. Their other collaborations are currently unavailable.

ZAZA is based on a once popular play about a provincial French showgirl who begins an affair with a French diplomat only to discover that he has a wife and child that he never told her about. When he leaves her to return to them, she is devastated and goes to Paris where she becomes a big star. They then meet again many years later. The diplomat is portrayed by H. M. Warner in a rather solemn performance. He became famous later for playing Jesus in the original KING OF KINGS (1927) and as Mr Gower, the druggist, in IT'S A WONDERFUL LIFE. He is also one of the "waxworks" in SUNSET BOULEVARD. Swanson's dipsomaniac aunt is played by character actress Lucille La Verne who would later voice the Wicked Queen in Disney's SNOW WHITE

ZAZA gives Swanson the opportunity to go from one emotional extreme to the other. In the beginning she is all unbridled raw energy as the small town headliner in a local cabaret who bedevils her maid and her co-workers while trying to catch the eye of the diplomat. Once they become involved with each other, she settles into being the perfect partner until her lover goes back to his family. After the scene where she discovers that the diplomat has a wife and child, we get a sadder, more subdued Swanson. The later scene where she meets the child as a young girl is a dramatic highlight. The ending had ladies of the day reaching for their handkerchiefs..

Allan Dwan was one of many Hollywood directors who were derided by a later generation of critics as company men who submerged their personalities to turn out the typical Hollywood product. The most notable director in this category is Michael Curtiz, the man behind CASABLANCA. While I admire the movies of auteurs like Orson Welles, Ken Russell, and Stanley Kubrick. I prefer the work of so called "company men" who could adapt themselves to any genre and who focused on storytelling rather than style. Directors like Alfred Hitchcock and John Ford managed to be both.

This new DVD/Blu-Ray of ZAZA looks great with excellent image quality throughout. There is some wonderful camera work in the early cabaret scenes. The bucolic quality of the cottage scenes is also noteworthy. This print was obviously well cared for as it looks as if it did not require major restoration. The piano score by Jeff Rapsis is well performed and is taken from the original 1923 cue sheet. While not a great movie, ZAZA is worth seeing as a star vehicle for Gloria Swanson and as a typical product of its era. Thanks to Paramount and to Kino for making it available...For more reviews visit The Capsule Critic.

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.

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.