User Reviews

Many silent film directors evolved during their careers and experimented with different styles, looking for the one that best expressed their artistic vision (Evolution however does not apply to aristocrats whose species have remained the same throughout the centuries).

During Herr Jean Epstein's silent period, this Herr Graf can appreciate three different stages, although there is no vast difference between them in terms of what Herr Epstein was trying to accomplish. Initially his work is permeated by naturalism and conventional film narrative; later his films become more experimental and avant-garde followed by a more realistic and documentary like style.

Accordingly, "La Belle Nivernaise" (1924) belongs to Herr Epstein's early more conventional period, though it is conventional only in Epstein terms, natürlich!, It is a beautiful and lyrical work. It tells the story of Herr Victor ( Herr Maurice Touzé ) an abandoned child who is found wandering in the city by Herr Louveau ( Herr Pierre Hot ), who works as a bargeman. He decides to raise the boy but has a child of his own, Frau Clara ( Frau Blanche Montel ) and a grumpy wife ( Frau Madame Lacroix ). As time passes, both youngsters will fall in love with each other.

The process of the love affair is beautifully filmed, and is depicted in many soulful close-ups and varied elegant techniques that bring the film to a high artistic level. The social realism (life on the barge) is intertwined with echoes of social injustice to add to the drama ( Victor's real father appears and he is separated from Clara ).

La Belle Nivernaise" is a good example of a great director in the making as he develops the technique best suited for what he is trying to convey.

And now, if you'll allow me, I must temporarily take my leave because this German Count must require a special permit in order to travel by barge on the Rhine to meet one of his rich old heiresses.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com

Even at their most unsophisticated, and no matter how many I watch, it never ceases to amaze what silent films were able to achieve. With no need for sound, and with film-making technology that was unquestionably basic and developing, most any title one might come across is nonetheless deserving not just as a slice of our cultural heritage but also very much on its own merits. Especially to those who have a harder time engaging with older movies, no few might indeed come off to at least some extent as "simpler entertainment for a simpler time"; to be sure the storytelling here is on the more straightforward side of the spectrum, especially early on. Whether as a reflection of limited technology, equipment, or techniques, or deterioration of surviving prints, one might also observe tinges of brusqueness or rough edges in the editing and sequencing, and forthrightness in some acting and direction. And still, despite all this, and much more than not, I don't think there's much arguing that 'La belle Nivernaise' is quite well made, and highly enjoyable. It may not altogether stand out in any major way among its brethren, but for fans of the silent era above all, this is well worth checking out and a fine credit to all involved.

I can certainly claim no familiarity with Alphonse Daudet's novel, but filmmaker Jean Epstein's screenplay presents capable scene writing to assemble a satisfying and unexpectedly rich narrative. As much as the film industry toys with some notions again and again, early cinema sometimes seemed especially fond of specific plot ideas (orphans, life on the water, antagonists motivated by jealousy, etc), but this is no lesser for the fact of it. Though the camerawork is static and unmoving for a fair portion of the runtime, at large it's pretty great and in some moments surprisingly dynamic, or even imaginative; some particular instances thereof are downright super, with an example at the climax being genuinely inventive. Some curtness aside, Epstein's direction is broadly just swell in orchestrating shots and scenes: attentive and mindful, in some cases feeling a bit novel and advanced for 1924, and marked by considerable care for shot composition. Similarly, despite a degree of lacking polish, more than not I believe the editing to be fairly smart overall, not least with regards to transitions. And it speaks well to the cast - including primarily but not exclusively Pierre Hot, and especially Blanche Montel and Maurice Touzé - that at a time when acting tended to be characterized by exaggerated expressions and body language, the performances here strike me as carrying gratifying levels of nuance more akin to what we'd increasingly see as the medium evolved.

'La belle Nivernaise' is further rounded out with some splendid detail. The production design is excellent, and the filming locations are terrific. The costume design, hair, and makeup are fantastic, pointedly giving every character a unique look. Though few and modest, the stunts and effects that are employed come off great. All this, in combination with what I think is the surest strength in Epstein's direction throughout this picture, results in a climactic sequence that's earnestly thrilling with stark tension, and a back half that's distinctly stronger than the preceding length. To be honest, in whatever measure the first approximate half of the feature is lightly imperfect and doesn't outwardly impress, the careful skill and intelligence that defines the later scenes handily compensate, and outshine the weaknesses. In total the movie is definitely uneven, yet its value is ultimately just as apparent as - and more significant than - its mild deficiencies. I sat to watch with no foreknowledge or especial expectations, and I walk away very pleased with just how engaging and engrossing the film ended up being. In fairness I don't think the minds will be changed of anyone who isn't already enamored of the silent era, but whether one is such a cinephile or just looking for a good way to spend some time, I'm happy to say that as far as I'm concerned 'La belle Nivernaise' is well worth the time and effort it takes to watch. This is one classic that earns that descriptor all by itself.