There may be a term paper in French filmmakers and money metaphors. Back in 1921 Marcel L'Herbier adapted the Greek legend of Prometheus and equated him with a financier; fifteen years later Maurice Tourneur - who had spent a considerable time making American films - adapted the Biblical story of Samson and made him, guess what, not only a financier but a pillar (nice touch that) of the Bourse, the Paris Stock Exchange so that when Delilah gets happy with those shears both pillars - real and symbolic - come crashing down. The great Harry Bauer takes the lead as an African copper magnate and Delilah comes in the shape of Gaby Morlay, more or less coerced into a loveless marriage by mom, titled but penniless Gabrielle Dorziat. In another nice touch this Samson wasn't blind to the reason Morlay said 'yes' but she WAS blind to his very real love for her so that when she picks the wrong guy to step out of line with Bauer has no compunction in ruining not only the other man but also himself and two-thirds of the Bourse. Strong stuff at the tail-end of the Great Depression and a fine addition to any DVD collection.
3 Reviews
The pillars of the temple.
brogmiller4 April 2024
There have been twenty-three film adaptations of the plays of Henri Bernstein and 'Samson', first presented in Paris in 1907 has been filmed no less than four times. This version, the only one with 'sound', is courtesy of master film-maker Maurice Tourneur with a powerhouse performance by Harry Baur in the first of their fruitful collaborations.
Bernstein is guaranteed to offer a dose of harsh reality and behind the gloss and glamour lies a deeply cynical depiction of the arrogance and greed of the upper echelons of French society, a class that the playwright knew only too well. He himself spent the war years living it up in New York at the Waldorf Astoria with little or no interest in the war.
The film begins innocuously enough but from the moment that Baur as wealthy financier Brachart realises that he has been cuckolded, it takes on a far darker hue as he seeks revenge on his wife's lover and builds to a thrilling if somewhat melodramatic climax. The Samson of the title, like his Old Testament namesake, shakes the columns of the temple, not of the Philistines but of the Paris Stock Exchange, ruining both his rival and himself.
The superlative Monsieur Bauer goes through the gears here, from mild-mannered to maniacal, combining pathos and villainy. Strong support from stalwarts Gaby Morlay, André Luguet, Gabrielle Dorziat, André Lefaur and an especially touching Suzy Prim.
A little known but fascinating opus that boasts excellent production values and suffice to say, immaculate direction by Monsieur Tourneur.
Watching this morality tale unfold calls to mind Henry Ford's observation: "Money doesn't change men. It merely unmasks them."
Bernstein is guaranteed to offer a dose of harsh reality and behind the gloss and glamour lies a deeply cynical depiction of the arrogance and greed of the upper echelons of French society, a class that the playwright knew only too well. He himself spent the war years living it up in New York at the Waldorf Astoria with little or no interest in the war.
The film begins innocuously enough but from the moment that Baur as wealthy financier Brachart realises that he has been cuckolded, it takes on a far darker hue as he seeks revenge on his wife's lover and builds to a thrilling if somewhat melodramatic climax. The Samson of the title, like his Old Testament namesake, shakes the columns of the temple, not of the Philistines but of the Paris Stock Exchange, ruining both his rival and himself.
The superlative Monsieur Bauer goes through the gears here, from mild-mannered to maniacal, combining pathos and villainy. Strong support from stalwarts Gaby Morlay, André Luguet, Gabrielle Dorziat, André Lefaur and an especially touching Suzy Prim.
A little known but fascinating opus that boasts excellent production values and suffice to say, immaculate direction by Monsieur Tourneur.
Watching this morality tale unfold calls to mind Henry Ford's observation: "Money doesn't change men. It merely unmasks them."
Delilah did not need to cut his hair
dbdumonteil18 October 2007
A subject which was familiar in the French thirties: the aristocrat who is forced to marry (money match) a nouveau riche.Abetted by a greedy mother (Gabrielle Dorziat),and a brother/playboy ,a young woman (Gaby Morlay) marries a less-than-handsome greybeard ,Jacques(Harry Baur).This business man holds the Bourse de Paris (Stock Exchange)in his hand.He is ruthless,and when it comes to ruin an "ennemy" ,he does not think twice.
Both confess they do not love each other.Anne -Marie is having a wild time at night with her beau,a womanizer who enjoys the "legs" game (worth the price of admission)whereas her hubby is brooding.But she soon realizes that in those crazy nights ,"life has lost its mystery and that love is blind and cannot find her" .For her,Jacques will shake the pillars of the temple,as it happens ,the stock exchange.Can poverty buy happiness?
Like this ?Try these.....
Le maître de forges Fernand Rivers/Abel Gance (1933)
Le roman d'un jeune homme pauvre Abel gance (1935)
Both confess they do not love each other.Anne -Marie is having a wild time at night with her beau,a womanizer who enjoys the "legs" game (worth the price of admission)whereas her hubby is brooding.But she soon realizes that in those crazy nights ,"life has lost its mystery and that love is blind and cannot find her" .For her,Jacques will shake the pillars of the temple,as it happens ,the stock exchange.Can poverty buy happiness?
Like this ?Try these.....
Le maître de forges Fernand Rivers/Abel Gance (1933)
Le roman d'un jeune homme pauvre Abel gance (1935)
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
