La Femme du boulanger
1938 Drama   
 
Credits
  • Director: Marcel Pagnol
  • Script: Marcel Pagnol, based on a novel by Jean Giono
  • Photo: Georges Benoît
  • Music: Vincent Scotto
  • Cast: Raimu (Aimable Castanier), Ginette Leclerc (Aurélie Castanier), Fernand Charpin (Le marquis Castan de Venelles), Robert Vattier (Le Curé), Charles Blavette (Antonin), Robert Bassac (L'instituteur), Marcel Maupi (Barnabé), Alida Rouffe (Céleste), Odette Roger (Miette), Yvette Fournier (Hermine), Maximilienne (Melle Angèle), Charblay (Le boucher), Julien Maffre (Pétugue), Adrien Legros (Barthelemy), Jean Castan (Esprit), Gustave Merle (Le Papet), Paul Dullac (Casimir)
  • Country: France
  • Language: French
  • Runtime: 133 min; B&W
  • Aka: The Baker's Wife
 
 
 
Summary
A middle-aged man Aimable and his young wife Aurélie decide to settle in a Provençal village, running the local baker’s shop.  A short while later Aurélie runs of with a young shepherd, leaving her husband broken hearted. Aimable refuses to make any more bread and the villagers are forced to separate Aurélie from her new lover and return her to her husband...



Review
La Femme du boulanger is widely considered to be Marcel Pagnol’s best film, not least because of the unforgettable acting performances from Raimu and Ginette Leclerc.  Based on a novel by Jean Giono, the film is ideal material for Pagnol’s romantic vision of Provence, with its tightly-knit little communities living in the remote unspoiled countryside.

Although resorting to caricature in a few places (indeed most of the film's characters are obvious caricatures), this does not undermine the film's dramatic thrust.  Only a writer of Pagnol's undoubted talents could manage this without ending up with a weak farce.

Raimu, one of the finest French actors of the 1930s, gives one of his most moving performances in this film.  Alternately the comic buffoon and the tragic victim, he gives the film its emotional imperative.

One of the most popular French films ever to be released in the United States, this is a film that plays perfectly to the emotions without ever appearing sentimentalised or contrived.

© James Travers 2001


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