This is a Festival review of Marius (2013) and Fanny (2013)
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26 September
This is a Festival review of Marius (2013) and Fanny (2013)
Daniel Auteuil has a reason or two to love Pagnol – he was in films such as Manon des Sources from the mid-1980s, but he is also from that area, Provence.
The trilogy that he is making, of which Marius and Fanny screened last weekend and César is still in production, are less bucolic, being set in Marseilles (or, as in French, Marseille, without the ‘s’), and with a veritable maritime feel, almost a whiff (with Fanny’s seafood) of the ocean, which makes for a real freshness to both location and characters.
The story in these first two parts contrasts the fun-loving liberation of the jazz and cinema age with the Roman Catholic attitude to sex (and children as the evidence) before marriage, the desire for a partner and for children with a pull to explore the world. In all of this, Auteuil’s direction is deft, composing shots and a treatment of Pagnol’s writing that always draws the viewer in, and with a careful use of music.
Previously, he worked with Jean-Pierre Darroussin in Conversations with my Gardener (2007), and the other actor is here as a man, Panisse, who acts to save a situation when César (Auteuil) has insulted him by misinterpreting his motives, despite years of friendship going back to schooldays, and initially and violently seeks to oppose what is for the best. The quartet of major players is completed by Raphaël Personnaz and Victoire Bélézy as the other two title characters, and all are so strong, working with the grist of Pagnol’s original, that the result would be thoroughly engaging were they not supported by the likes of Marie-Anne Chazel, and by the old port and the ocean that it gives onto.
César, though, is not a violent man, though he does tend to tease people beyond their limits, and, after a grumpy start, he comes alive on screen when he shows Marius how to make an aperitif with four different ‘one-thirds’ in the same glass. When Marius disappears, as he all too frequently does, and abandons the business, his father just frets over him, addressing the absent Marius rhetorically as ‘mon petit’.
The first film, Marius, teeters around what he wants, and ends with a decision, whereas Fanny (and its title character) has to address what remains – at heart, both are driven by Marius not wanting what he has, and wanting what he cannot have, the latter in such a way that he becomes totally hateful, and is transformed. In all of this, César and Panisse show what grace and love they have, even for Marius and where his desires lead him.
All in all, a fine cast working in a lovely free manner together to create this drama, which so far has run to some 210 minutes, and whose conclusion is likely to be a tour de force.
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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
