La petite marchande d'allumettes

I just stumbled on this early and silent Renoir short (along with the delightfully bizarre 'Sur un air de Charleston') on a DVD of 'La Grand Illusion' and, really, I think I love it more even than that great film.

It's loosely based on 'The Little Match Girl' but owes as much to 'The Nutcracker'; a poor match-seller (played by Mrs. Renoir, the absolutely gorgeous and appealing Catherine Hessling, who can also be seen in 'Charleston'), overcome with hunger and cold, hallucinates the inhabitants of a toyshop window coming to life around her. I imagine the animation and other special effects must have been fairly pioneering - I'm certain they're more spellbinding than anything CGI could do - and the result is magical, enchanting, heartbreaking.

The version I saw had a haunting, note-perfect accordion soundtrack by Marc Perrone.

Much as I love his other work I could almost wish Renoir had gone on like this; I could wish cinema had gone on like this.

This is adapted from the Hans Christian Andersen story about a neglected, destitute matchbox girl who turns to light for a last flight of fancy. So how to transmute suffering into something that matters and we can take from?

It's so perfectly tailored for cinematic language of the time, sentimental but not daft; an outer story about hard-hitting emotional drama, ostensibly realistic but itself imbued with the afterglow of fairy-tales, and the canvas nested inside the mind that permits all manner of fantastic associations between the two fantasies.

The cruel father who sends her out to sell every night, is beautifully rendered as only a dark silhouette behind a window. Once out in the snowed street, the only one who notices the girl is the policeman. In their brief moment of intimacy before a shopping window they identify each other as toys behind the glass panel. It's good to note the distance they feel separates them, and therefore prohibits the romance, because it's repeated, then reversed inside the fantasy. They are again faraway, but eventually - imagined - very close.

The fantasy is brilliant, but first seems rather uninspired, the magic uncinematically transferred to the set design. But what seems at first as stuffy is revealed to be stuffy for a reason; the feeling is one of stasis and regression, the toys are life-like in size, so the girl reduced to their stature, hiding among them, finally finding love that extricates from the infantile level. Then a premonition of Death as the casting of the first shadow, here is where it soars and takes to the skies.

This second part truly amazes; Renoir does not merely transmute on the symbolic level by transferring notions between worlds, he transmutes for the eye as well. This heavenly world is in flux, rapid, violent. So we have a delirious flight of fancy as the couple flees from Death, a struggle, and eventually the capitulation.

You can read all of this as the wish-fulfillment of a suffering mind, the fluid dream world providing guidance from inside, or a spiritual blueprint with those things nested inside of it.

Eventually the cross, the rod of suffering, is transmuted in the tree of new life. We may think the blossoms spring up wistfully, because the fairy-tale calls for it, and perhaps for the filmmakers they were merely the proper symbols, but it is not quite so. Fairy-tales communicate something of our very soul, not the opposite. A common soul on her journeys through the world.

So, on an unconscious level, a sacrifice here points the road to the required breakthrough. The girl growing into a woman, then growing out of that too, and is a river its bank or the flowing water? Watch it again.

Although this version hits on many of the points in the original story, there is no doubt that this is director Jean Renoir's very own interpretation. He perhaps outdoes Hans Christian Andersen in conveying a harsh reality with little or no recompense. The finale is heavy laden with symbolism of which might have been some influence to Orson Welles' "Citizen Kane". Renoir himself seems to have been influenced by Andersen's "Steadfast Tin Soldier" and Victor Herbert's "Babes in Toyland(1903)". And the life size dolls remind one of Maria in "Metropolis(German, 1927)". The New Year's story should be familiar to most- one sorrowful day in the life of a poor girl, without happiness at home nor on the job. This particular adaption presents a girl much older than seen elsewhere and is set in the present. Ranks a close third behind the 1937 cartoon and the near perfect 1986 British musical film. With sound effects and music, the latter used particularly well with a rendition of Wagner's "Ride of the Valkyries", which of course(to Western fans)was also used with great results in My Name Is Nobody(Italian, 1974). The video edition viewed had fair to good picture quality.

While short and perhaps lacking in real pathos (for me), this is a great example of the sheer imaginative fun that movies rarely possess nowadays. From a horse-back sword fight in the sky to snow that turns into fruit, fantasy reigns supreme in this film. Catherine Hesslinger is captivating in the lead role (though she is even more remarkable in the less interesting "Charleston"). Seeing these silent shorts of Renoir's have helped me understand how he was capable of putting so many wonderful, unusual scenes into "The Rules of the Game"; I see how playful he was. Above all, one takes away Renoir's exuberant love for film in this movie. You can find it in the 7 film set released by Lion's Gate with remarks by Scorsese.

La Petite Marchande D'Allumettes is another of Renoir's bleak portrayals of meek and meager lives at odds with their milieu. Something about it though feels like a re-hashing of earlier Renoir works (Une Vie and La Fille...even Nana). This piece was filmed in the Vieux-Colombier and produced by Tedesco. I conjecture (or just straight up fantasize) that the pair brainstormed on a film concept that was to be "suited" for Renoir and Hessling together. I imagine the idea of adapting a famous tale (Andersen's short story) as a compromise (never a great way to produce art imo)... and what you get is something not quite original in any way whatsoever. Now, that isn't to say that the French Impressionist film techniques used in the hallucination sequences are not constructed and crafted with technical precision and genius intuition... but that it was already fertile ground for Renoir (and Hessling for that matter). I have previously hypothesized that some of Renoir's silent work was prophecy and prognostication through forming a death allegory between human freedom and the film industry itself. This may have been the last time that Renoir favored a stylistic system constructed around a protagonist's psychology and showcasing avant-garde editing techniques (impossible to say without a full print of Le Tournoi available). Certainly, Renoir's next film, Tire au Flanc would begin a shift toward a dominant stylistic system and diegetic construction (characterized by depth of field, mobile framing, multiple protagonists, etc.) that marked Renoir as a unique and exceptional filmmaker. Interesting also, that it was not sound film production that spurred this stylistic shift for Renoir as Tire was a silent film (although, I do believe it may have been the imminence of sound film that also had Renoir thinking one step ahead).