|
|
|
Crainquebille
1922 Comedy / Drama
| |
Credits
-
Director: Jacques Feyder
-
Script: Jacques Feyder, based on the novel "L'affaire Crainquebille" by Anatole France
-
Photo: Léonce-Henri Burel, Maurice Forster
-
Cast: Marguerite Carré,
Jeanne Cheirel,
Maurice de Féraudy (Crainquebille),
Jean Forest,
Armand Numès,
Félix Oudart,
Françoise Rosay
-
Country: France
-
Language: French
-
Runtime: 50 min; B&W; silent
-
Aka: Bill
|
|
|
|
| |
Summary
For over forty years, a modest street peddler, Crainquebille, has sold vegetables from
his cart in the environs of the Halles market in Paris. One
day, whilst waiting for a customer to give him his change, he is accosted by a policeman
who insists that he moves on. When he protests, Crainquebille
is arrested, supposedly for swearing at the policeman. After
a farcical trial, the old man is sent to prison, where he enjoys the benefits of free
shelter, free food, and even free healthcare. But when he
leaves prison, Crainquebille’s fortunes take a turn for the worse.
All of his erstwhile customers shun him, and, with no income, he drowns his sorrows
in drink. Reduced to a loathsome tramp, the sad old man is
about to end his life when a young street urchin takes him by the hand and persuades him
to make a fresh start.
Review
Jacques Feyder’s credentials as a serious filmmaker were established early in the 1920s
with such films as this masterful adaptation of a novel by Anatole France.
In contrast to his 1921 adventure epic
L'Atlantide, Crainquebille
is a comparatively modest melange of social drama and satire, but one that is
extraordinarily direct and engaging.
The film's subject fits perfectly with Feyder’s effective realist style, heightened by
the director’s very evident humanist principles. With a skill
that becomes increasingly evident in his subsequent films, Feyder succeeds in drawing
every last ounce of pathos from a situation without ever crossing the line into sentimentality.
See how masterfully he manages to employ comedy to offset
the tragic elements of his drama, something which adds great depth to his characters and
a very human dimension to their plight.
There are also some memorable artistic touches, which show that Feyder was not averse
to experimenting with the cinematic medium. These include
a demonic nightmare version of the trial scene, which appears to have been spliced from
an early German expressionist film. There are also shades
of Chaplin, not just in the character of Crainquebille himself (a lovable outsider who
appears to be constantly at odds with the world he lives in), but most evidently in the
film’s rather touching final sequences. (The angelic child
actor Jean Forest would feature in Feyder’s subsequent films,
Visages d'enfants and Gribiche
.)
Whilst the film may not have received
the recognition it deserved when it was first released, it is now gaining acceptance as
one of the most important French films of the silent era. It
amply demonstrates that Jacques Feyder was years ahead of his time, and on so many fronts
– a truly inspirational director and a great auteur
of the Seventh Art.
© James Travers 2006
|
|
|
|
|
