Mario Soldati, one of the most artistic of directors and one of the chief exponents of 'calligrafismo', is probably best known for his superlative 'trilogy' based upon the novels of Fogazzaro. Her performance in the first of these, 'Piccolo Mondo Antico', had proved a turning point in the career of lovely Alida Valli and here she plays the title role in this splendid adaptation of one of Honoré de Balzac's greatest novels which forms part of his monumental cycle 'La Comédie Humaine.'
The character of Eugénie is certainly one of Balzac's most appealing but the novel's real claim to posterity is the portrait of miserliness in the shape of her father Félix, unmatched until that of George Eliot's 'Silas Marner'.
Félix Grandet, with all his avarice and cunning, is a gift of a part and here it is relished by Gualtiero Tumiati. The scene where he cheats his rather passive daughter out of her mother's inheritance lingers long in the memory as does that in which, about to breathe his last, he is dazzled by the gold of the crucifix held over his head.
Eugénie has nobility of soul and although Plato valued virtue over gold, this characteristic can often make for a one-dimensional character but not as played by Alida Valli who is magnificent. She is fully deserving of the Nastro d'Argento she received for her portrayal.
She waits seven years for her first and only love Charles to return only to discover that this shallow, selfish character is to marry someone else for social advancement. Giorgio de Lullo, who mainly worked in the theatre, is perfectly cast in the role. Grandet's long-suffering wife, a thankless role on paper, is brought to life by Giudetta Rissone whilst Pina Gallini impresses as Nanon who is so much more that just a housekeeper.
All of Soldati's hallmarks as a director are here in terms of fidelity to the spirit of the original, his eye for detail and his classical restraint. Art direction, cinematography and score are exceptional.
Apart from his literary gifts, Balzac is a master of characterisation, possessing an uncanny understanding of the human heart, especially in relation to money. He himself did not pen the words 'Gold cannot be pure and people cannot be perfect' but this old proverb suits his works admirably.
The character of Eugénie is certainly one of Balzac's most appealing but the novel's real claim to posterity is the portrait of miserliness in the shape of her father Félix, unmatched until that of George Eliot's 'Silas Marner'.
Félix Grandet, with all his avarice and cunning, is a gift of a part and here it is relished by Gualtiero Tumiati. The scene where he cheats his rather passive daughter out of her mother's inheritance lingers long in the memory as does that in which, about to breathe his last, he is dazzled by the gold of the crucifix held over his head.
Eugénie has nobility of soul and although Plato valued virtue over gold, this characteristic can often make for a one-dimensional character but not as played by Alida Valli who is magnificent. She is fully deserving of the Nastro d'Argento she received for her portrayal.
She waits seven years for her first and only love Charles to return only to discover that this shallow, selfish character is to marry someone else for social advancement. Giorgio de Lullo, who mainly worked in the theatre, is perfectly cast in the role. Grandet's long-suffering wife, a thankless role on paper, is brought to life by Giudetta Rissone whilst Pina Gallini impresses as Nanon who is so much more that just a housekeeper.
All of Soldati's hallmarks as a director are here in terms of fidelity to the spirit of the original, his eye for detail and his classical restraint. Art direction, cinematography and score are exceptional.
Apart from his literary gifts, Balzac is a master of characterisation, possessing an uncanny understanding of the human heart, especially in relation to money. He himself did not pen the words 'Gold cannot be pure and people cannot be perfect' but this old proverb suits his works admirably.