Au bonheur des dames

This silent version of Zola's classic was impossible to see for a long time.Zola's heirs (concerning a novel from the 19Th century) were suing Duvivier's (video cassettes and DVDs) producer René Château ,reportedly.That may account for the disappearance of such other great Duvivier movies as "la fête à Henriette" or "Au Royaume des Cieux" (the latter was available on cassette a long time ago).

In the Rougon-Macquart saga ,"Au Bonheur des Dames" is far from being one of my favorites.The depictions are impressive,but the story is melodramatic ,particularly the ending .Duvivier has transposed the action to his time ,the early thirties.It's not a big problem,since the director introduces ,in the first sequences ,sandwich men and advertising leaflets coming down from the sky.And the neons as well.

That said,"Au Bonheur des Dames" displays a director who hadn't found himself yet.As every French cine buff knows,Duvivier was the film noir master,the poet of evil.He was also a past master when it came to depicting a place ,the Halles de Paris or Bastille Day.Actually,the true Duvivier would appear in his next effort "David Golder" (1931)

Best sequences: Genevieve 's fiancé ,telling the old shopkeeper Baudu how seedy his place is :the cobwebs ,the old furniture and the dilapidated walls speak louder than words;Baudu ,becoming mad as he hears the noises of the walls falling down; A giant worker with a pick destroying everything;and finally Denise's face ,in the last sequences ,who tends to to show that far from being an ingenue,she is a potential business woman and the story does not tell if she will show compassion for people who fall by the wayside.

Mouret's fête by the river will become a Duvivier's permanent feature too.Even at his nastiest,at his darkest,there will always be a cause for celebration: the Guinguettes in "La Belle Equipe" and "Voici le Temps des Assassins" ,the ball in "la fête à Henriette" or the fair in "Boulevard" .

But Duvivier was still searching for an identity at the time and there are weaknesses in his film:the relationship Denis/Mouret is as bland as that in Cayatte's talkie (1943).Blame it on the actor,Pierre de Guingand ,because Dita Parlo's talent is incontestable.Ditto for Armand Bour whose performance would be dwarfed by Michel Simon's (who else?)a decade later.

I will not make ,anyway,any comparison between the silent and the talkie.Today's audience will fatally favor the latter over the former. Every cine buff has got to see both and make up his mind.

NB.In Zola's saga ,"Au Bonheur des Dames" is the follow -up to "Pot-Bouille" (Octave Mouret is featured in both books).In 1957,Duvivier transferred to the screen that book,with only fair results .The movie was slagged off by Truffaut who (for once) was not wrong.Gerard Philippe was cast as Mouret.

More than a film - or a good adaptation of Zola novel- it is a fascinating experience, escaping of definitions. sure, impressionism, close -up, editing, noble message, love story. and more than an old film. for its modernism. for its science to reflect the states in the most inspired manner. for the status of cinema lesson for each viewer. for the art to give to a mute film a force who remains fresh long time after its last scene. because it is a story about Paris and, in same measure, a story about values, more usefull today than in XIX century. and this does it a brilliant example of inspired cinema.or authentic art.

Zola's novel starts with Denise arriving in Paris and finishes some 500 pages later in what might be called a happy ending. In between are so much character detail and socio-economic ideas that the BBC could have made a six-hour miniseries out of it. Alas, that option was not open to Duvivier in 1929 as he was shooting this film. The young (early 30's) director had studied the Soviet artists closely; Dziga Vertov and Fritz Lang must have been familiar to him. As a result, we have some very impressive split screen work for the delusions of Baudu.

Dita Parlo keeps looking like a girl scout most of the time--she does not take direction well. Pierre de Guingand as Mouret is given little to work with; we don't know why he's so smitten with Denise. Germaine Rouer as the grasping socialite does impressive work; she's one of the few characters who is given a personal story to work with.

The final silent film from Duvivier (of Pepe le Moko fame) is an adaptation of an Emile Zola novel starring Dita Parlo (of L'Atalante and The Grand Illusion fame). I didn't even know Parlo made any other films! She's wonderful. She plays an orphan girl who shows up to Paris to live with and work for her uncle. Unfortunately, she finds him and his tailor shop destitute, failing under the encroaching department store across the street, Au bonheur des dames (translated as "Ladies' Paradise"). She's only too happy to get a job at the fabulous store, where she attracts the attention of several different men (and the jealousies of some of her female co-workers). Meanwhile, her family across the street is going to Hell. The visuals and direction are very good, as are the performances.

Duvivier's AU BONHEUR DES DAMES is a gorgeous surprise, since along with SUNRISE, METROPOLIS, and a few other of the masterpieces of the period, it taps into so many key movements and concerns of the 1920s. It's a faithful adaptation of Zola's novel by the same name, part of his sweeping "Rougon-Macquart" series that casts a panoramic look on 19th century French society. The story, banally put, is a proto- "You've Got Mail." But instead of the giant bookseller edging out the human-scale bookstore in the neighborhood, it's a small fabric merchant vs. the huge department store. (The department store was a new phenomenon in the mid-to-late 19th century.) Like SUNRISE, this movie shows the seduction of the fast pace of the modern city, mass consumption and revolution of our desires--and the insults that modernity hurls at older ways of thinking about community and "values" such as honesty, family, and propriety.

AU BONHEUR is now available on DVD, with a very good musical score. It is an exquisite example of what silent-era cinematic "Impressionism" was all about--including fantastic experiments with conveying sound, emotion, speed, and confusion through images and their editing. In sum, this is an important film and a beautiful one. Wacky ending, but let's not spoil it... With not only Dita Parlo (cf. Vigo's L'ATALANTE and Renoir's GRAND ILLUSION), but Nadia Sbirskaya (Renoir's CRIME OF M. LANGE).