Le Retour de Don Camillo (1953)
Directed by Julien Duvivier

Film Review

On its first release in 1951, Le Petit monde de Don Camillo was the most successful French-produced film to be released in France.  With spectactors numbering just over 12.7 million, it boasted the largest audience ever achieved in France, a record it held right up until 1966, when it was overtaken by the Bourvil-de Funès smash-hit La Grande vadrouille.  The film's French and Italian producers would have been insane not to have attempted a follow-up, once again adapting a novel in the popular series of Don Camillo novels by renowned Italian author Giovannino Guareschi.  Le Retour de Don Camillo may not have achieved the jaw-dropping success of its predecessor, but with its French audience of 7.4 million, it was easily the biggest French box office hit of the year, comfortably ahead of its nearest rival, Clouzot's fiendish suspense thriller Le Salaire de la peur.

Iconic comic performer Fernandel, by now the most bankable star in French cinema, was easily persuaded to reprise the role with which he is now most readily identified, that of the well-meaning but oftentimes pugnacious parish priest Don Camillo.  Once again he is well-matched by his Italian opposite Gino Cervi, positively revelling in the role of the scheming Communist mayor Peppone (whose passing resemblance to a certain Soviet autocrat of the time was presumably accidental).  It is the clash-of-the-egos on-screen rapport between these cinematic legends that makes the film so effortlessly entertaining, making up for the less than inspired writing and direction, which both lack some of the flair and spontaneity to be found in he first Don Camillo outing.  Some attractive location photography (which makes good use of the stunning Brescello countryside) adds much to the raw visual appeal and poetry of the film.

His popularity (and presumably bank balance) buoyed up by the success of the two Don Camillo films, director Julien Duvivier was able to turn his intention to more worthy (i.e. less flagrantly commercial) subjects in the mid-50s, achieving some measure of acclaim and notoriety with Marianne de ma jeunesse (1955) and Voici le temps des assassins (1956), before the arrival of the Nouvelle Vague consigned him to the cinematic backwaters.  The task of helming the next two Don Camillo films - La Grande Bagarre de don Camillo (1955) and Don Camillo Monseigneur (1961) - fell to the incredibly prolific Italian director Carmine Gallone, with Fernandel more than willing to reprise his best-loved role.

Film Synopsis

When he hears about Don Camillio's on-going battles with the communist mayor Peppone, the bishop decides to exile the Catholic priest to a small mountain parish.   With his arch-enemy out of the way, Peppone's life is far more peaceful - at least at first.  When he fails to persuade a rich landowner to allow a dam to be built on his land to stop an impending flood, the mayor realises he needs Don Camillo's help.  The situation becomes even more desperate when the parishioners fall out with Don Camillio's replacement, Don Pietro, refusing to die, marry or be born.  Peppone has no choice but to hasten Don Camillo's return.  But how can he stop the priest from turning his return into a victory celebration?