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    Le grand jeu (1934) [Masters of Cinema #68]

    Posted By: Someonelse
    Date: 14 Oct 2011 11:00:00
    Le grand jeu (1934) [Masters of Cinema #68]

    Le grand jeu (1934) [Masters of Cinema #68]
    DVD9 | ISO | PAL 4:3 (720x576) | 01:50:23 | 5,80 Gb
    Audio: French AC3 2.0 @ 256 Kbps | Subtitles: English
    Genre: Drama, Romance | France

    A marvellous rediscovery from the golden age of French cinema, Jacques Feyder’s Le Grand jeu is a tragic doppelgänger romance, steered by the fate of the tarot card, and set against the dizzying exoticism of 1930s Morocco.

    When scandalous Parisian playboy Pierre Martel (Pierre Richard-Willm) is forced by his family to leave France and his adored lover Florence (Marie Bell), he begins a new life in the Foreign Legion as Pierre Muller. Drowning his regrets in camaraderie, whores, and hell-raising, he is astonished at meeting Irma (also Marie Bell), a prostitute with an uncanny resemblance to his beloved, and begins a fitful scheme to allow her escape.

    An early benchmark of poetic realism and a fascinating precursor to both Duvivier’s Pépé le Moko and Hitchcock’s Vertigo, Feyder’s fluid, masterful storytelling make this a unique classic of the screen: vividly forceful yet subtle, acutely observed yet fantastic, world-weary yet tender. The Masters of Cinema Series is proud to present its UK home viewing premiere.

    IMDB
    Eureka - Masters of Cinema
    DVDBeaver

    It's rare to find a film that is thought provoking without being challenging and comfortable without being banal. Le Grand Jeu is both; a delightful story of emotional cascades that considers the way we relate to other people. Jaques Fedyer directs Pierre Richard-Willm as a disgraced Parisian playboy who joins the French Foreign Legion to flee public shame. He leaves behind flightily socialite Florence (Marie Bell), who makes empty promises about following the destitute Pierre.

    Le grand jeu (1934) [Masters of Cinema #68]

    This prologue is the mould that shapes the rest of the film, turning Pierre into a misanthrope who wiles away his enforced 5-year service pining for his lost love. He cuts a morose figure among cavorting Legionnaires in a small Moroccan town. It's here we get our first glimpse of Richard-Willm's masterstroke – creating a likeable character whose major plot points are objectionable. In the quieter sections of the film, Pierre's weedy moping inspires sympathy, but it's not long before you're reminded of his flaws: his enforced exile is thanks to amoral embezzling, he is a drunk who habitually runs from his problems, and he consistently mistreats the women in his life. Georges Pitoëff's upbeat Legionnaire doesn't arrive with the same depth as the rest of the cast, but he is an excellent example of how unlikely it is that the simpatico Pierre will repay tokens of friendship. Richard-Willm takes the solid screenplay and creates a stimulating anti-hero that never compromises the easy flow of the narrative.

    Le grand jeu (1934) [Masters of Cinema #68]

    Despite being consistently excellent, Willm frequently cowers in the radiant light of Marie Bell. She plays two characters, the seductive Florence and a bar entertainer turned prostitute with an uncanny resemblance to his former belle. The second character, Irma, is dubbed by Claude Marcy, a device that works surprisingly well. Already addled by loneliness, the arrival of Irma deeply shocks Pierre. He becomes increasingly confused about whether or not this mysterious girl is the woman he loved or a coincidental doppelgänger. Irma begins as a shy and naive creature, who hints at memory loss and suspiciously clings to Pierre.

    Le grand jeu (1934) [Masters of Cinema #68]

    The confused soldier initially declines her fumbling advances, but cannot resist the phantom of Florence. Marie Bell's switch from confidence to innocence is extremely convincing. Within the first few minutes of Irma's appearance, her whole demeanour marks her as a different character, rather than just an alternative voice. More studied and impressive is Irma's slow progression from youthful doubt to a more settled character, buoyed by the love and attention of Pierre. The relationship between the two leads is comfortable, giving them a solid platform from which to fully express themselves. Bell's ability to convey complex emotions with a simple twitching facial expression adds a giddy spark to many of her scenes.

    Le grand jeu (1934) [Masters of Cinema #68]

    Of the supporting cast, Françoise Rosay is given the most screen-time as the owner of the hotel in which Pierre and Irma live. She is a very steady hand at the wheel and provides a dependably solid avenue for the two main characters to express themselves. Unfortunately, her use of tarot cards to predict Pierre's future adds an unwelcome slice of pseudo-mysticism into what is otherwise a very believable narrative. There is, at least, a decent pay-off that makes it mostly worthwhile. Any element of the unreal stands out thanks to the natural feel of the story. ‘Natural' is very much the byword for Le Grand Jeu and the key reason why it so easy to engage with.

    Le grand jeu (1934) [Masters of Cinema #68]

    The actors and the screenplay collude to create interesting people, who aren't exaggerated single aspects of a personality or ready-made clichés. We can easily relate to their human behaviour and emotions, without feeling like we've seen it all before. The story, too, mines familiar themes of love, loneliness, and fear, but within a narrative that is all its own. Even in the 76 years since its original release, the story of La Grand Jeu has not been excessively repeated. It is, however, a notable influence on Hitchcock's Vertigo (1958), which also used the conceit of two identical women.

    Le grand jeu (1934) [Masters of Cinema #68]

    It may well be that the picture's age masks the quality of the filmmaking. Actors burn as bright in any era, but the filmmakers of the early 1930's had a lot less technology and precedent than their modern-day descendants. Jacques Fedyer attempts nothing flashy or spectacular by today's standards, but he doesn't miss a beat. His well constructed angles are the perfect canvas on which the actors paint Le Grand Jeu's engaging narrative.

    Le grand jeu (1934) [Masters of Cinema #68]

    There's an easiness to Le Grand Jeu which might easily relegate it to the status of sleepy Sunday afternoon TV. But to create a film which is so interesting, while still maintaining that level of comfort, is an exceptional achievement. Two towering performances bear the weight of that quality, allowing the strong supporting cast and captivating narrative to blossom. Le Grand Jeu is a gem of early poetic realism that is fully deserving of this DVD release.
    DVD Outsider
    Le grand jeu (1934) [Masters of Cinema #68]

    Special Features:
    - New high definition digital transfer
    - New and improved optional English subtitles

    Many Thanks to Original uploader.

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