As Mulheres dos Outros

"Pot-Bouille is not a film d'auteur. On the contrary. It is quite clearly a literary work written by one person and filmed by someone diametrically the opposite. Nevertheless, Jeanson's ferocity and verve, multiplied by Duvivier's obstinate gentleness, result in something pleasant and unusual." - François Truffaut, Cahiers du Cinéma, Dec., 1957.

It's a pity people think Duvivier is a "fifties qualité France " director ,like the precedent user .Actually he was already here in the twenties and he reached summits in the thirties with such gems as "la belle équipe" "carnet DE Ball" "pépé Le moko" or "la fin Du jour".That is not to say that it was downhill afterwards.Some of his finest works came later as marvelous film noirs such as "panique" and "voici Le temps Des assassins" bear witness.

"Pot Bouille" is precisely the "voici Le temps Des assassins" follow-up.After such an impressive work ,everything would be necessarily a letdown.And alas such is the case here.Duvivier's skill for desperate films noirs is not well applied on a Zola adaptation:"Pot Bouille" ,the 10th volume in the Rougon-Macquart saga ,is more a chronicle than a linear story.A lot of subplots interfere ,some of which have been -perhaps wisely ,because of the censorship of the era- passed over in silence:for instance,the maid who delivers her baby unbeknown st to the Bourgeois in the house is nowhere to be found in this adaptation.

Duvivier needs a compact screenplay,and his bite is most of the time inefficient here.There are some good things though :Jane Marken ,as the bourgeois matronly woman,who desperately tries to get her daughters a beau marriage shines in every scene she's in.But Gérard Philippe is not well cast as Mouret,being not cynical enough;besides the happy end is not faithful to Zola :Mouret was to be the main hero of his following novel "au bonheur Des dames" ;but in "pot bouille" he does not occupy the central place,because of the huge amount of characters.Duvivier's approach is too polite ,too clean to deal with Zola successfully.

DUVIVIER,AUTAN-LARA,DECOIN ,etc... where some of the film-directors of "french quality" film-making of the fifties,who where criticized and supplanted by the "New-Wave",with TRUFFAUT,GODARD,etc... To-night ,in one of those charming little old theatres of the latin quarter in Paris ,I've just seen POT-BOUILLE (Julien Duvivier 1957). I found it a quite acceptable sample of that period of the French production.Appropriate casting,good actor's direction,excellent lighting,costumes and setting without flaw!! Excellent craftsmanship,from people who mastered their job within the studio system. Of course it has the theatrical side of a studio job,with very professional people ,but it is never out of purpose,it is with the aim of serving a story without annoying the audience. And What a story !the famous novel of EMILE ZOLA :POT-BOUILLE. The adaptation for the screen,keeps close to the subject : show the backstage life of the parisian lower-middle class of shop-keepers,in the textile trade ,in the late 19th century.Outward respectability,inward sordidness,and money strategies.Outward respectable married couples,inward war,deceiving ,adultery.In showing the life of the inhabitants of one building ,the social antagonisms between the masters and the servants is not forgotten ,reminding us of the society of the have and have not, of the paris of the time,for whose crude pictures Zola will remain famous.Nothing to see with the English title :lovers of Paris !!! POT-BOUILLE meaning something like :let'us wash our dirty linen within the family. Don't conclude from this that the film is black and sordid. It has the rhythm and the witty dialogues of a comedy. It's worth seeing but rare on screen .

Inspired by Balzac's series of novels entitled 'The Human Comedy' Emile Zola set about writing a 'natural and social history of a family under the Second Empire', the name of which is Rougon-Macquart. The fundamental purpose of this series is to show the profound and inescapable influence of heredity and environment in making us what we are.

This impeccable adaptation of the tenth novel takes place in a Parisian apartment building. Into this 'melting pot' of the title comes Gustave Mouret who, like his uncle Eugene Rougan in an earlier novel, is obsessed with power. In Gustave's case it is the power that his good looks and charm exert over women.

His conquests are many and very few of the females seem to offer much resistance. He is played by Gerard Philippe so need one say more?! Not only is he perfectly cast physically but his effortless artistry is a joy to behold. One of his conquests is Berthe played by the exquisite Danny Carrel, an actress whose exotic looks came from her Vietnamese mother. Gustave ends up marrying Madame Hedouin whose husband has conveniently kicked the bucket. She is played by the superlative Danielle Darrieux whose scenes with Philippe are by far the best in the film. Mention must be made of the marvellous Jeanne Marken as Madame Josserand whose efforts to get her daughters married off make her little more than a procuress.

As with all adaptations compromises have had to be made. Certain characters are diminished and many events excluded but this still a hugely enjoyable piece with never a dull moment. Splendid production values of course and the art direction by Leon Barsacq is superb.

Naturally the subject matter is right up director Julien Duvivier's street dealing as it does with hypocrisy, cynicism and wafer-thin morality.

The next volume in Balzac's series is 'Au Bonheur des Dames' but ironically Duvivier has put the cart before the horse by directing this in 1930. It is his last silent film and is likewise highly recommended.

Wonderful film I'd never heard of before by the great French director Julien Duvivier, based on the Emile Zola novel Pot-Bouille, which I'd also never heard of.

A handsome young man comes to 19th Century Paris and begins seducing a broad cross-section of the womenfolk of his new neighborhood while scheming to succeed as a salesman in two rival fabric stores.

The film put me in mind of the great films of Max Ophuls - "Le Plaisir", "La Ronde" and "The Earrings of Madame de..." - and it has the same delight in, and acceptance of, the mysteries of love and romance.

The cast are all faultless, but Gérard Philipe in the lead (never better) and the magnificent Danielle Dumont, as the tightly-buttoned owner of one of said stores, easily outshine them all. They add depth and nuance to a story that could have been broad comedy in lesser hands, simply through glances and body language, their thoughts and feelings flickering across their faces. A treat.