Zaza

I have not seen this film, and likely never will, but the three comments I have read here (occasioned on my part by a recent viewing of the Claudette Colbert 1938 version) need some thought and at least one correction. 1) Why should it be a 'stretch' for Swanson or any other actress to play a French woman, especially in a silent film?, 2) Is the second reviewer so removed from music that he does not know that "Plaisir d'amour" was one of the most famous love songs ever written (by Padre Martini, a sometime-priest)?, that it was well over 100 years old at the time of the play's setting (1898), and close to 200 years old when it was somewhat destroyed in order to become the Presley hit, "I Can't Help Falling in Love With You"?; also that it had been recorded by several dozen of the greatest (mostly) classical singers of the 20th century long before Elvis the Pelvis laid eyes upon it?, 3) While it is not inconceivable that Sarah Bernhardt might come to mind in connection with the character of Zaza, it should be noted that Zaza is a music hall star, while Bernhardt was arguably the most famous and most respected serious actress of her time, that time being the last third of the 19th century and the first quarter of the 20th (even though she always acted in French, even in America), and that her position then might be roughly analogous to Meryl Streep's today rather than to, say, Lady Gaga's! Also, in 1898 Bernhardt was hardly in her 'prime', being 54 years old (a lot older then than it would be now!) and a very famous star actress for 30 years. And, in 1898 I doubt that two respected French playwrights would have insulted their country's leading actress by writing a play about some of the less savory aspects of her life. Not to mention that in 1898 much of that information was hardly available to them or to the general public. I point out the unlikelihood of such an assumption rather than its absolute falsity, for we will never know for sure. The story was filmed 3 times before 1940, and twice during Bernhardt's lifetime, but outside the outstanding stage success Mrs. Leslie Carter achieved in the role in America, to this day the role is mostly associated with the American opera star, Geraldine Farrar, who achieved great success in it as her last new role at the Met, this in Leoncavallo's operatic version of the play. It does seem that, after Leoncavallo's death (1919) and Farrar's retirement from Opera (1922), ZAZA lost considerable ground. In fact, the only time most of us have heard of it since then was when Claudette Colbert filmed it in 1938 (and she was apparently a last-minute replacement for Isa Miranda, thus giving it a star imprimatur it would not otherwise have enjoyed), and in very occasional operatic revivals since the end of the Second World War.

Zaza (1923) : Brief Review -

A Gloria Swanson melodrama to remember - before Saddie Thompson, and all thanks to Berton's French Classic for that. I tried to catch Zaza's earlier silent version of 1915 but couldn't find it, and I didn't want to watch Cukor and Claudette Colbert's talkie version before this. The second cinematic adaptation of Zaza, by Allan Dwan, came during Swanson's peak period, which may explain why it is more likeable. In the beginning, I thought Zaza was nothing but a female version of Buster Keaton or Charles Chaplin because there was so much fun for a while. Then it took a melodrama form to convert itself into a romantic drama, but that was predictable for any smart movie buff. Zaza is an actress and a favourite at an open-air theatre in a small French town. When diplomat Bernard Dufresne comes to the village, he stays away for fear of falling for her. But when Zaza is badly injured, he has no choice. They both fall in love, but part their ways when Zaza learns the truth he has hidden from her. Zaza is quite enchanting till halfway, and then it becomes dramatically sentimental in the second half. I might have hated this story in the talkie era (early review of Cukor's film), but for the 20s, I think it was pretty nice. Though I must say, for the 1915 version, it would have worked better. Gloria Swanson is simply lovable in this all-gay-all-tragic role. The way she fights with Regault (Riley Hatch), I mean, their women-type chemistry, is entertainment. I have seen H. B. Warner's later films from the 30s and 40s, but this was my first film from the 20s. I kind of liked him, but those talkie roles have a better impact on me, so it's a little below the mark and I also think it's a little unfair of me. Overall, it's a good melodrama for contemporary filmmaking. Allan Dwan delivers a faithful and deserving adaptation of Berton's French Classic, which we have all loved for years.

RATING - 7/10*

By - #samthebestest.

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.