La pazza di Chaillot

A wonderful fable I happened to stumble across. The inimitable Katharine Hepburn as the title character conspires with other eccentrics to save Paris. Warm, funny, delightfully non-sequitur and deeply poignant, this film has messages about love, greed, happiness, fear, hope, dreams. . .life. Excellent performances by all, including some wonderful dramatic acting by Danny Kaye. I highly recommend this movie.

A delightful, gentle, quirky and poetic movie. The entire story takes place in the mind of the title character - an eccentric old dear who dreams of a world in which love is requited and evil is simply banished back into the darkness from which it came. The film is by turns moving, funny and magical - and the cast (especially Evans, Brynner, Homolka and Kaye) are a delight. If you are in the mood to be taken into a gentle, unfashionable, charming world of love, poetry and idealistic whimsy, then this movie is for you.

A fable of human and societal archetypes spanning the generations. But what wonderful surprises from Danny Kaye as the Ragpicker. His soliloquies during the trial demolish all the stereotypes of what he was capable of as an actor. Those moments, alone, are worth the fare. Kathryn Hepburn puts in a typically professional performance in a role she enjoyed. Donald Pleasance is marvelously malevolent as the Prospector. Yul Brynner is terrific in an atypical role - probably his best since "Invitation to a Gunfighter". If the story suffers from anything, it is overreach - too many characters of outlooks that are too similar wasted on name actors. John Gavin puts in a strange performance that could have been better filled by dozens of other actors.

Question: In 1943 what movie starred Katherine Hepburn, Katherine Cornell, and Harpo Marx?

ANSWER: STAGE DOOR CANTEEN

Question: In 1969 what movie starred Katherine Hepburn, Dame Edith Evans, and Danny Kaye?

ANSWER: THE MADWOMAN OF CHAILLOT

Odd that Kate Hepburn should pop up in two unfair trivia questions, but it does happen. Actors do run into each other in all kinds of films, both good and bad, memorable and forgettable, and regular or short film (look at a comic short called THE STOLEN JOOLES which has most of the stars of Hollywood in the 1930s in it).

STAGE DOOR CANTEEN was done for patriotic morale boosting for our soldiers, and it celebrated the canteens used to entertain our men on furlough. So the making of that film had a reason that transcends it's current obscurity. I might add, as it is the only major movie that stage star Katherine Cornell popped up in for just a few minutes, it is worth it as a time capsule as such.

But THE MADWOMAN OF CHAILLOT was based on a Giraudoux play about modern society endangered by the forces of power and greed. It is about the discovery that the city of light, Paris, is reposing on a huge, untapped oil field, and that various power figures without any soul (Yul Brynner, Charles Boyer, Paul Henried, Oscar Holmolka, Donald Pleasance) may be able to empty the city of it's neighborhoods, it's citizens, it's life and light, and replace it with derricks. Giraudoux made sure that the villains represent everything that he suspects. Brynner is the ultimate ruthless billionaire (he is upset when a waiter accidentally spills water on him). Boyer is a stock broker. Henried is a General. Homolka is the French head of the Communist Party (Giraudoux has no illusions about what a political label means - there are power mad people in all political parties). Pleasance is a prospector for oil. There is also John Gavin as a right wing religious demagogue.

Opposed to these villains are Kate Hepburn (the leading local social figure from the past - called "the madwoman of Chaillot") and her friends Giulietta Massina, Margaret Leighton, and Edith Evans (who is still trying to campaign in 1969 for Mr. Wilson's League of Nations). Also aiding Hepburn are the "rag picker" (Danny Kaye - in the best dramatic performance in a major motion picture in his career - also his only Oscar nomination), Richard Chamberlain, Gordon Heath, and Nanette Newman. Although Hepburn, Massina, Leighton, and Evans have social position, none have the political clout of the villains. So when they are made aware of the threat to their beloved Paris (and by extension western culture and morality) they hold a trial (in absentia) of the villains, and find these villains have to die.

This film is better for the brief vignettes of it's stars than for the total impact. Brynner's malevolent, general ruthlessness is one of his best acting jobs. So is Henried's almost comical criminal activity: he confesses to having arranged the murder of four promising young aides of his, because he suspected one of them (but not knowing which) of sleeping with his wife - it turned out his wife had been faithful after all (Brynner, Boyer, Homolka, and Gavin congratulate him on his luck!). Kaye has several great set pieces - a rag picker he wraps eloquent about the great, glory days of garbage in the past where each neighborhood's garbage had a special character all it's own (as opposed to the garbage of the modern homogenized neighborhoods of Paris, that those villains forced on the citizens). He is superb in the scene where he is the "defense" counsel for Brynner and his group - demoniacally showing what these people are really like while "defending" them. All those comic, scatterbrained, sequences in his movies built up to these scenes of poetry and passion.

Hepburn, of course, was great - that last sequence where she mistakes Chamberlain for the lost love of her youth, and mournfully laments his loss, is a highpoint in her career. She rarely had so poetic a scene of tragic delicacy.

But the story, oddly enough, for all we may approve of the hatred shown for the powerful who use and discard us, is not fully acceptable. Henried's general is too stupid (he almost launches a missile attack on Russia while talking to Hepburn). Brynner is so impossibly arrogant that a consortium of his fellow billionaires would probably ruin him to shut him up. But the acting is still so good that it one can forget these minor problems. Any film where Donald Pleasance uses his prominent proboscis by putting it into a drinking glass to smell for oil cannot be all bad. So I'll give it a "6", if not higher.

There is a segment within a scene almost ending the first act of "The Madwoman of Chaillot", that suggest the direction the story is going to take. While the fanciful old countess Aurelia (Katharine Hepburn) explains young Roderick (Richard Chamberlain) the joys of being alive, the visuals turn to a slightly hazy retrospection of her love life, in which Roderick is seen as her mustachioed lover Alphonse, and the waitress Irma (Nanette Newman), with whom Roderick will fall in love, is seen as Aurelia when she was younger. All this theatricality is followed by a brief scene that ends the act, in which Irma delivers a soliloquy about her growing love for Roderick. Then after a fascinating first hour in which the plot is so startlingly current, as act two starts, we enter the world of filmed theater and the movie hardly recovers. If "The Madwoman of Chaillot" is remembered with affection after it ends, it is because of its first part, in which a rich and ruthless self-made man who leads a group that includes a general, a Catholic priest, a broker and a communist commissar, joins a similarly cruel prospector whose plan is the creation of an enterprise to dig up oil in the middle of historical Paris. The prospector has sent his nephew Roderick to put a bomb in the Palais de Chaillot to kill a public officer who denies him permission to begin his oil operation. But when Roderick fails and the police believe he is going to commit suicide, he meets countess Aurelia, who hears about the plan and decides to solve it by herself. Then action slows down, everything is done in interiors and the situation is resolved in strange ways -- first with a metaphorical trial which is pure stage material, and then with a certainly weird "execution" of the villains. By 1969 director Bryan Forbes was riding the crest of his own international film wave and had a great cast, in which even John Gavin delivered a fine funny performance of an evil priest. Masina is a delight, Evans is wonderful, and Homolka, Leighton, Henreid, Boyer and Dauphin are as good as all the supporting players, while Hepburn tries hard with her teary eyes... I could not help thinking what this would have been with a French actress in the lead.