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Poil de carotte (1925)
Julien Duvivier | Drama |
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 Synopsis
Ten-year-old François, nick-named Poil de Carotte (carrot-top)
on account of his red hair, is blighted with the most miserable life
imaginable. Constantly bullied by his tyrannical mother, ignored
by his father, and teased by his older brother and sister, poor
François imagines that he is the unhappiest person in the
world. When his brother Félix steals some money from his
parents so that he can amuse himself with a Parisian cabaret singer,
who is the obvious culprit? Poil de Carotte! Whenever he
sees a glimpse of happiness – playing with a little girl on a
neighbouring farm or going hunting with his father – his mother
intervenes and gives him chores to do. In the end, the
ill-treatment that is meted out to him daily becomes unbearable and
François decides to end his life. All he needs is a rope,
a beam, and it’s done. Who will miss wretched Poil de Carotte..?
Poil de carotte
is available from the following on-line retailers:
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Film Review
The 1925 version of Poil de carotte
was Julien Duvivier’s first notable success. Although less
well-known and far less regarded than his subsequent sound films of the
1930s and ’40s, this, the finest of Duvivier’s silent films, reveals a
young filmmaker of immense talent and is a work of acute poetry and
poignancy. The darker aspects that we see in the director’s later
films – cruelty, injustice, rejection – are evident in this early work,
and these give it a distinct quality that we now interpret as an early
example of poetic realism. When it was released, the film was criticised for its substantial departures from the book (written by Jules Renard) on which it was based. The subplot involving Félix, the hero’s older brother, was considered a distraction from the main thrust of the narrative, which, in the novel, was concerned only with François’s unremitting ill-treatment at the hands of his family. It is questionable whether this is a fair criticism, since it can be argued that Duvivier’s departures from Renard’s novel add substance to the characters and heighten the realism of François’s experiences. It is fair to say that this is a far less polished piece than Duvivier’s subsequent films, marred by some stylistic flourishes which serve merely to distract the spectator. Whilst some of the expressionistic touches (unusual camera angles, stylised lighting and use of multiple exposures) work well, to convey what is in the mind of the protagonists, others (such as the revolving mirror) merely get in the way. Far more impressive is the stunning location photography, which brings a striking realism and pathos to some parts of the film. Particularly memorable are those sequences in which the hero (beautifully portrayed by André Heuzé, his only film appearance) gives free reign to his child-like emotions. Julien Duvivier was particularly fond of this film and decided to remake it seven years later. This sound version, released in 1932, is generally considered superior to the silent version, and features the legendary stage and film actor Harry Baur as Monsieur Lepic, with the part of Poil de Carotte played by 11-year-old Robert Lynen. This remake, whilst technically the better film, doesn’t quite have the raw naturalism and intense lyrical quality of the silent version. What both of these films offer is a truly heart-rending portrayal of the fragility and anguish of childhood. © filmsdefrance.com 2009 Write a review for this film... User Comments
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