Quermesse Heróica

I enjoyed this film very much--partly because of its clever writing and partly because it shows a period you just don't see in films very often. It's well worth your time.

"Carnival in Flanders" is set in the 16th century--during the time that Flanders (modern Belgium) was ruled by Spain. It is set in a fictional town in Flanders--and apparently some thin-skinned Belgians during the 1930s wanted to ban the picture because they thought it made them look bad. That's silly--it's just a cute little comedy! The film begins with some minor intrigues in town--including a painter wishing to marry the daughter of the Burgomeister (that's a mayor for us Yanks). However, suddenly, this is unimportant--what IS important is that the Spanish army will be passing through and the town council KNOW this means they'll sack the town. So, they come up with a crazy plan--to pretend that the Burgomeister is dead. This really won't help anyone--just the Burgomeister! So it's up to the man's wife and the women of the town to deal with these invaders. However, they are shocked to see that the Spanish are incredibly polite--and kind of cute!! What's next? See the film.

I found myself laughing several times during this movie--a very good sign for a comedy. I particularly liked the needlepoint scene! All in all, very entertaining, funny and exceptionally well made--they got the look of 16th century Flanders down pat. A wonderful little comedy that deserves to be seen.

The women hold a big banquet and all of the Spanish officers are invited. However, one of them is not interested and prefers to stay indoors and do his needlepoint. One of the village men is also not interested so the officer invites him to bring out his knitting. They discuss what kind of stitches to use and the officer opines that a particular stitch feels nicer on the leg.

The scene is perfectly innocent, but how interesting that already in 1935 they had the idea that maybe not all of the soldiers wanted to be seduced by women! And they actually dared to put the scene in! :)

The question of just what the Mayoress has done with the Duke is left unsaid, but probably also would never have passed the Hays Office in Hollywood.

Based upon a novel by Charles Spaak this could be seen as a variation on the theme of 'Lysistrata' by Aristophanes, in which the women of Athens and Sparta deny their partners any sex until peace has been restored.

In Jacques Feyder's masterpiece from the Golden Age of French cinema the women of a Flemish town decide to bestow their favours on the occupying Spanish soldiers so as to avoid bloodshed. It must be said that once they have set eyes on their swarthy conquerers they do not require much persuasion and set about their task with relish.

It was this aspect in particular that caused so much outrage in certain quarters as it was seen to deride heroic resistance and to favour collaboration. Once war had broken out Goebbels had the film banned whilst the director and his actress wife Francoise Rosay were obliged to leave France to avoid the unwelcome attentions of the Gestapo.

Feyder responded to criticism by saying that his intention was to celebrate the glories of his country's art from the Sixteenth and Seventeenth centuries. He has certainly succeeded in this as he and his team have us enabled to step into the world of Hals and Vermeer.

Under the supervision of legendary art director Georges Wahkévitch an entire town was meticulously constructed in a Paris suburb, using cement, real steel and plaster instead of the usual papier maché and cardboard. This, together with the cinematography of Harry Stradling, costume design of Georges K. Benda and luscious score by Louis Beydts all combine to give us a film that is in itself a work of art.

It would be well nigh impossible to assemble a cast of this quality now. The role of the Burgermaster's wife is probably the magnificent Francoise Rosay's most iconic. She is complemented by André Alerme's pompous and pusillanimous husband and the highly civilised Spanish nobleman of Jean Murat. In an early role Louis Jouvet effortlessly steals his scenes as a worldly monk. Every character is beautifully drawn and special mention must be made of Alfred Adam as the butcher and Lyne Clevers as the fish-wife.

Following the rather sombre 'Pension Mimosas', Feyder felt the need to do something lighter and this mock-heroic farce is indisputably his greatest achievement. He once described himself as 'an artisan working in an industry.' In this he was being unduly modest.

A classic of French pre-War cinema, Carnival in Flanders by the great Jacques Feyder is the most devious and cruel satire you might ever come across. Set in early 17th-century Flanders, which had previously been under Spanish rule, the story opens with shots of a busy village preparing for the yearly carnival, when the news break that the Spanish Duke Olivares and his troops plan to stay in town. At the prospect of looting and raping militia men, the flabby mayor of the well-to-do provincial nest called Boom volunteers, as he puts it, "to sacrifice" himself: his plan to pretend he has just passed away, thus hoping to convince Olivares to bypass the mourning town, is eagerly adopted by his timorous menfolk. But while the males go about staging the mock funeral, the women, led by the mayor's energetic wife, take over the action and, in turn, decide to "sacrifice" themselves to the soldiers. What follows is a grand tale of sexual libertinage and deception with a "happy end" of sorts where virtually no-one is redeemed. (The original title, La Kermesse héroïque, literally The Heroic Fête, operates in much the same way as Milos Forman's early satirical masterpiece, The Fireman's Ball, 1967, and the parallels are numerous; no doubt Forman had taken a second look at Feyder's Kermesse during his studies.) What immediately strikes one today is Feyder's directness in exposing his characters' human flaws, which is hardly subdued by the general satirical tone. The way adultery, homosexuality and eroticism but also greed, cowardice and deceit are depicted leaves one speechless at times, and certainly wondering how political correctness and all sorts of profit policies and conservatisms have infested modern-day cinema to a point it would no longer dare think to produce anything like this. Not to speak of the 1930s Hollywood counterparts, for which Feyder would have been light years off the mark, proving the point that there was and still is such a thing as the "French cultural exception". Apart from the latent debauchery creeping out into the open from the cozy interiors of a model town, the film also has multiple strings of side puns that keep its pace up at all times – from spot-on character studies (the mayor, the artist, the butcher...) to hysterical history sidekicks (using a fork for the first time, Spaniards wondering what "beer" is, impious remarks on Dutch painting...). Most strikingly, it is a hallucinatory mockery of the Dutch and their supposed idiosyncrasies: avarice, Protestant pragmatism, self-righteous "middle-class" rule, bogus worldliness, you name it. This goes to such an extent that it has been repeatedly claimed that Feyder had intended an allegory of the Dutch's collaboration with the German occupier in WWI – and from today's perspective, one is tempted to grant it visionary power as well, since substantial parts of the Flamish-speaking population of Belgium were eager supporters of Nazi rule. This assumption makes sense once you've witnessed the cold-blooded irreverence and unmasked sarcasm Feyder uses to unmask his species, which is surpassed only (in literature) by the untouchable Molière. Clearly, all formal issues had to serve this main objective – the Vaudeville acting, the picturesque film set, the matter-of-fact filming, and not least the purpose-built dialogues. So, although you should not expect a formidably audacious experiment in film-making, you will be treated a deliciously immoral chamber piece on sexual banter and other not so politically correct behaviour. Released in 1935, it is also a cruel reminder of how conservative the world – and its cultural output – has become as of late.

"La Kermesse Heroique" is looked upon,in France ,as Jacques Feyder's apex as well as the beginning of his decline .

This is a colorful entertaining work,with wonderful settings ,costumes,actors ,folk songs and scenes inspired by the Flemish art (the mayoress' daughter is in love with a painter ,Jean Brueghel.) The director's wife,Françoise Rosay (who was also featured in the two previous works "Le Grand Jeu" and "Pension Mimosas " and would be the star of the next work "Les Gens Du Voyage" ) finds here the role of a lifetime : the mayoress character was probably inspired by the strong wives or servants we find in Molière's plays (Madame Jourdain,Toinette).Rosay has the first part of the movie for herself ,but she shares the acting honors with Louis Jouvet's mischievous part of the chaplain;an opportunity for Spaak to laugh at religion;during the banquet ,the nice innocent young ladies ask the ecclesiastic to tell them a tale of the Holy Office :the clergyman tells them the tale of a virgin whose body was covered with honey and licked by a he-goat,the guests have a wonderful time!And when the holy man ,leaving the town,is given chocolate by an inhabitant:he smiled, he thanks and gives her ,as a bonus, some indulgences!I hope she was not protestant.

In this Flemish town,where people are gathering for the fair ,men are cowards :as soon the coming of the Spaniards is announced,they hide their money ("superior significance women cannot understand" ),or they pretend that they are dead (the mayor).A false flash-forward depicts the cruelty of the invaders.

Not only the occupying forces treat the woman as ladies ,but they show romanticism - the mayoress dreaming of Italy, the chaplain marrying "Romeo" to "Juliet" - and a sense of humor -the duke has obviously guessed that the mayoress is not a widow.

Today,Feyder is eclipsed by Renoir ,Carné -who was here his assistant again ,after "Pension Mimosas" - or Duvivier;he seems to enjoy a good reputation abroad though;"Kermesse" and the two other works I mention above are essential viewing for anyone interested in the French cinema.