Topaze

Louis Jouvet is one of the greatest actors of all time. To think that TOPAZE was his film debut only underlines his quality. Physically and in his meticulous approach to acting he reminds me of Daniel Day-Lewis and his superb debut in ROOM WITH A VIEW (needless to say, Day-Lewis went on to become a three-time Best Actor Academy Award winner, the only actor thus far to have achieved that feat.)

His transformation from low income teacher with scrupulously honest principles to cold-hearted, sophisticated fraudster is gradual yet swift, hardworking yet subtle, and shrewd beyond all expectations, reflecting a capacity to survive in a dog eat dog world that the position of schoolteacher had failed to develop, but which he intelligently turned to his advantage.

TOPAZE plays out like a game of chess between those in positions of power who try to use Albert Topaze to their advantage and the fast learning apprentice who turns the tables on them.

The dialogue is sharp, the acting is superior (especially Jouvet and Feuillere), photography is competent enough, and direction by Louis Gasnier quite inspired, considering that in 1933 France had only just become acquainted with the production of sound films.

Thought-provoking satire on human greed. Must-see. 9/10

A comic but ultimately transgressive tale of a socially inept schoolmaster who must confront his own principles. Is he too honest for his own good? Or is it the town that needs cleaning up? Louis Jouvet gives his usual stunning performance as the professor, whose troubles are either caused or solved by the snappy Edwige Feuillère, in her amazing Schiaparelli getups. Some of the film-making is a bit primitive (e.g., a heavy handed cross-fade from a horse's tail to the rear of a character, and the usual harsh sound mix of French films from this period), but the good acting and thought-provoking plot (not the mention the art deco designs) make the film worthwhile.

One remarkable thing about Louis Jouvet's stunning performance is the subtlety with which he conveys the transformation. Topaze does not go from country bumpkin to worldly-wise con artist. This would be too simple and implausible. Rather every gesture, every nuance seem to suggest an intelligent man, playing by the rules, who has no clout whatsoever, being suddenly empowered through humiliation. He was made a fool of, and so the inner man no longer has any reason to lack courage and self-confidence. It is a baptism of fire. He not only learns but he sizes up his manipulators and makes fools of them.

Louis Jouvet did not achieve this level of interpretation without relentless, near- fanatical devotion to his craft. A kind of control freak he agonized constantly over his stage productions, for, in fact, he was given the stewardship of several theaters in the days before commercial theater and television. Thus, he set a standard almost impossible to duplicate.

Here, he is supported on all sides by the greats of French theater and cinema - Edwige Feuillère, who plays Suzy Courtois, left behind roles of this type to go on to become one of France's most versatile and honored actresses, often portraying noble women.

It's hard to imagine a better Castel-Benac. Pauley has the shape of an inverted pear and in French "poire" (pear) also refers to a dupe!

All in all a fine example of French comic theater, thankfully preserved on screen.

On a text of Pagnol, the first movie of Jouvet who is already impressive, add Edwige Feuillère and Paul Pauley and you have a fabulous cocktail for an excellent time watching this movie.

Significantly rougher than its expurgated American cousin starring John Barrymore, this is also a funnier and more poignant commentary on the evil ways of the world, in which an adorably nerdy schoolmaster (another unforgettable performance by Jouvet) learns the sad lesson that only the hard-hearted survive.