Monsieur Vincent

A very good biopic about a great man,Saint Vincent de Paul,whose charity,abnegation,generosity and humanity were so huge that Queen Anne d' Autriche used to call him "the kingdom's conscience" Filmed in black and white ,in a style close to early Bresson,the film features many unforgettable scenes : the reunion with the noble ladies who are willing to "do something" but whose world is far from them ,the Poor;the scene on the royal galley where the legend tells that Monsieur Vincent took the place of an exhausted galley slave .

Pierre Fresnay,whose unquestionable faith would turn to bigotry in his late parts ("le Défroqué" "Tant d'Amour Perdu" )finds here his lifetime part.Sometimes it seems that the Saint rose from the dead.

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A man with the history of Vincent De Paul would daunt any biographer trying to do him justice, but Maurice Cloche and company hold a decided edge over the monumental task. To undertake it with them, they have the mercurial Pierre Fresnay to play "Monsieur Vincent." Fresnay is critic John Simon's favorite actor, and if there was nothing more than "Grand Illusion" with which to justify his choice, it would still be a worthy one. This movie merely confirms his pre-eminence and our towering esteem.

It opens with De Paul entering the village Chatillon-les-Dombes where he is to assume the vacant post of parish priest and is welcomed with a stoning as he tries to save the life of a girl who has been boarded up in the house where her mother lays dead of what the villagers suspect is the plague. After petitioning the lord of the village to help without success, he takes matters into his own hands, acquiring the help of the church's caretaker to feed the famished child and bury the dead woman. He reprimands the villagers for their lack of charity, and sets out to administer the sacraments and help the family who took the orphaned girl in. He spurs on the people to such heights of charity with his sermons that they offer the family far too much to eat or store, and recognizing the waste that would ensue, he sets out to organize the people to provide for all those wanting with necessities.

The needs of the poor that Vincent De Paul tried to fill went far beyond the French countryside settings of Chatillon and Clichy. He rubbed elbows with nobility and even the royal family. This provided him with the opportunity to minister to the poor in all states of life, whether they were prison inmates or galley workers or refugees (of which there were thousands given the state of turmoil France was in at the time) or the unemployed. While he was breaking new ground on how the Church should organize itself to serve the poor (He founded the Ladies of Charity made up of noblewomen and the Daughters of Charity made up of women of lesser station.), he was also settling moral issues (The most dramatic one is the controversy he has with the charitable organizations over the taking in of foundlings.), advising against duelling, tutoring noblemen's children, and counselling priests and establishing new outlooks on how to take in new ones. The movie can only graze the surface of the phenomenal work of this great man. A much longer runtime would be in order; it could touch on the earlier part of De Paul's life (He had been abducted by Barbary Coast pirates and sold into slavery where he remained for two years under the control of an apostate priest turned Muslim whom he later converted and with whom he returned to France.) and deal with more controversial issues (His denouncing of the Jansenists; his failed plea with the minister Mazarin to leave France to stop the war.). Given the time "Monsieur Vincent" has to pay its homages, the movie uses it laudably well. Whatever its limitations, this is one of the greatest biographical movies ever made.

With a very young Michel Bouquet as a consumptive with whom Father De Paul shares his rented room and who opens the cleric's eyes to a society fraught with misery.

A beautiful film for must be grateful to director and lead actor. Because, obvious, it represents more than an inspired biopic. No doubts, in the splendid interpretation of pierre fresnay, it offeres a slice from the life of Vincent de Paul.

But you feel this film as an interogation for yourself, again and again.

Because it is a wise crafted definition of the relation with the other, poor, ill, alone, brutal as result of cruel conditions of life, idealistic or lazy.

The discover of social aspects, from the men on the boat to the poor neighbors, from the abandoned babies to the oldnes and close death are the good points of this real moving film , so modern, including the technique aspects, so honest, grace including the impressive job of mister Fresnay.

More than a simple to defined masterpiece.

But a profound useful ball of questions.

I saw this film at St. John's Prep in Brooklyn, NY, around 1959. The school was run by the Vincentian Fathers (Congregation of Missions-CM). I was surprised to see that Jean Anouilh had written the screenplay; he also wrote Becket. It was somewhat episodic. But I remember each one. He was not a patsy. Food line for the needy. He stops one man and feels his muscles and asks what's wrong with him. Instead, he steers him to a job on the docks. A job is a job and one could argue about unionizing later.

This was only the second movie to be honored with a Special Oscar as the year's Best Foreign-Language Film, after Vittorio De Sica's SHOESHINE (1946). In retrospect, while a fine achievement in itself, it is not quite in the top rank of French productions (even those made around this same time) – for the record, the country would receive two more such wins, both for director Rene' Clement, i.e. THE WALLS OF MALAPAGA (1949) and FORBIDDEN GAMES (1952), before the category was officially incorporated into the 1956 ceremony.

The film is a religious biopic, the subject being the priest revered for his unselfish aid towards the poor/moribund community in the 17th century and who would eventually be canonized as Saint Vincent De Paule; incidentally, the national old people's home (where my paternal grandfather expired in 2002) is named after him. The success of the movie rests more with Pierre Fresnay's commanding central performance (which earned him the Best Actor award at the Venice Film Festival), Jean-Jacques Grünenwald's rousing score and Claude Renoir's splendid cinematography (that said, the print I watched seemed unduly bright) than the narrative itself (though scripted by famed playwright Jean Anouilh) – which tells a pretty standard tale of a man being initially misunderstood and scorned, then endorsed and abetted. Even so, a few scenes certainly do stand out: the priest getting relentlessly stoned as he lends a helping hand to a would-be plague victim; taking the place of an exhausted galley slave; listening to the 'miserable' sounds of fellow residents at his lodgings; the fights between the myriad mangled patients for a place on the hospital's over-crowded beds, etc.

The supporting cast here is notable for showcasing future stars such as Claude Chabrol regulars Michel Bouquet and Jean Carmet. By the way, given the subject matter, I was reminded throughout of two of my favourite film-maker Luis Bunuel's best efforts, namely NAZARIN (1959; which, like MONSIEUR VINCENT itself, is included in the Vatican's 45-title list of "Some Important Films"!) and VIRIDIANA (1961).