Les Roquevillard (1943)
Directed by Jean Dréville

Film Review

There are two defining characteristics of French cinema in the Occupation era (1940-1944) - firstly, the amount of artistry and money that was lavished on so many French-produced films of this time, and secondly how totally disconnected most of these 'quality productions' seem to be from the grim realities of the day.  Both of these can in part be attributed to the occupying Germans, who oversaw a strict régime of censorship whilst pouring copious amounts of cash into France's film industry (on the reasonable assumption that if people could watch good films they would be less inclined to go out at night to blow up trains).  The output of the German run company Continental exemplifies the 'opulent escapism' of Occupation era cinema but many other companies followed suit.  Films Sirius's Les Roquevillard is a lavish adaptation of Henry Bordeaux's classic novel that could rival any Hollywood film of this period with its production values and dynamic artistry.

A popular work of French literature, Les Roquevillard had previously been adapted by Julien Duvivier in 1922.  Jean Dréville's expensive remake surpasses Duvivier's film in its visual grandeur and marks a creative high point for a director who, regrettably, is too easily overlooked these days.  After the war, Dréville would deliver one of France's most successful films, La Cage aux rossignols (1945) (remade in 2004 as Les Choristes) and received the Prix Louis Delluc for Les Casse-pieds (1948).  As impressive as these films are, neither has the inspired touch that Dréville brings to his ambitious period melodrama, which is distinguished as much by its imaginative camera work and lighting as by its impeccable set design and acting.

It's a good thing that Dréville was on a creative high when he made the film because the story it tells is pretty shallow and anaemic (a failing that can be traced back to Bordeaux's somewhat formulaic novel).  Dréville makes the lacklustre tale of elopement, revenge and ultimate vindication interesting by emphasising the inner emotional turbulence of the protagonists via some inventive camera and lighting choices.   In what is predominately a power struggle between rivals, scenes are given a heightened sense of drama by having the characters shot from extremely high or extremely low angles, or by using slow zooms to create some incredibly powerful close-ups.  This is carried to extremes in the climactic trial scene, where the patriarch François Roquevillard is seen to grow to dominate the entire courtroom as he slowly wins the case for the defence of his wrongly incriminated son.

It also helps that the performances are of the highest calibre; had this not been the case Dréville's elaborate mise-en-scène could well have appeared somewhat overdone and distracting.  Heading a cast of exemplary performers is Charles Vanel, one of the monstres sacrés of French cinema whom Dréville had previously directed in a number of films, including the one just before this, Les Affaires sont les affaires (1942).  There are not many French actors of this period who could match Vanel's authority and commanding presence, and the actor is eminently well-suited to play the indomitable head of a 'grande famille'.  It is in the trial scene at the end of the film that Vanel is at his most impressive, holding his audience in a grip of iron as he delivers the speech of his career, one in which every syllable and every pause resonates with feeling.  There are strong performances elsewhere in the cast - Aimé Clariond, Mila Parély, Jacques Varennes and Charpin are all excellent - but it is Charles Vanel who claims Les Roquevillard as his own and makes it one of the most compelling French literary adaptations of its time.

Film Synopsis

In 1880s France, François Roquevillard is a highly regarded barrister in the Savoie town of Chambéry in southeast France.  He is justly proud of his position at the head of an important family that has a spotless reputation - and this is something he intends to see continued.  Unfortunately, his wayward son Maurice appears to have other ideas.  Rejecting the moral precepts of his illustrious forebears, this impulsive young man elopes to Italy with Édith, the beautiful young wife of the town's respected notary, Maître Frasne.  The affair does not last long, however.

Within a year, Maurice comes to his senses and returns to Chambéry, leaving his friend Siccardi to break the news of his departure to his mistress.  Maître Frasne is not in a forgiving mood and, on discovering that 200 thousand francs have been stolen from the safe in his home, he takes his revenge by opening a determined lawsuit for theft against the errant Maurice.  The scandal caused by these dramatic developments turns the Roquevillards into social pariahs.  As a result, Maurice's sister Marguerite is forced to break off her engagement to the wealthy Raymond Bercy.  François's woes are complete when his beloved wife Valentine dies from shame.

Despite all the misfortune that his son's misconduct has brought him, François remains totally convinced that Maurice is innocent of the charge of theft and it is with an unwavering righteousness that he takes charge of his defence in the coming trial.  In this, he is helped by his brother Étienne and the bar president Hamel.  Meanwhile, Maurice is comforted by Jeanne Sassenay, the young woman who is secretly in love with him.  In defending his son, François Roquevillard knows he must also defend the honour of his family, and he has no intention of being defeated...