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man, a sailor". But Michel is selfish and exploits his father's blind affection, and as he grows up, hating the sea, he becomes addicted to the pleasures of the town, lured into bad behaviour by his friend Guenn-la-Taupe. At an Easter celebration, the only occasion of the year when Nolff and his family join the townspeople in their festivities, Nolff's wife becomes ill, and while she is taken home Michel escapes to a disreputable bar in the town to consort with the dancer Lia. Djenna comes to fetch him to his mother's bedside, but Michel slips back into the bar, where he gets into a fight with Lia's protector and stabs him. Nolff pays for Michel's release from gaol, but when they return home, they find his mother dead.
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Less welcome recognition came from the French censor. One week after the film's release it had to be withdrawn from screening because of objections to parts of the scene of the "bouge" which showed some lascivious kissing and caresses between two women. L'Herbier negotiated with the censor and made
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A detailed programme of tinting for the entire film gave a complex interplay of colour contrasts, both between scenes and in individual sequences: for instance, the scenes in the town bar (the "bouge") are tinted in a lurid red, and intercut with the mauve-tinted scenes showing the feverish mother at
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Years before... Full of contempt for mankind and life on land, Nolff has built his house on a remote cliff-top, and devotes himself to his fishing and to his wife and children: his daughter Djenna, hard-working and dutiful, and his son Michel whom he idolises and is determined to bring up as "a free
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n'est pas la narration de faits expliquĂ©s et reliĂ©s par des sous-titres, mais un succession d'images dont le message a la valeur d'une idĂ©e; d'idĂ©ogrammes... Les sous-titres ne viennent pas prendre la place d'une image pour dire en quelques phrases ce qui semblait inexprimable. Ils se superposent Ă
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described it as "the first example of film writing". He argued that the film was not just a narrative of events linked together by intertitles, but a sequence of images whose message conveyed an idea; the superimposed titles reinforced the images in the manner of ideograms. While some critics were
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Needing money to spend on Lia, Michel steals the savings which his mother had kept for Djenna, but he is caught and denounced by Nolff, who vows "to return him to God". Nolff ties Michel in the bottom of an open boat and pushes it out to sea. He then adopts the life of a hermit beside the sea,
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troubled by the contrast between the film's natural environment of coast and sea and its aesthetic use of frequent editing wipes, irises and superimpositions, there was broader appreciation for the rhythmic structure of shots and sequences, forming what L'Herbier saw as a "musical composition".
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while Djenna enters a convent. Months later, Djenna receives a letter from Michel: he has survived and is now a changed man, earning his living as a sailor. When Nolff hears that Michel wants to return home, he cries out to the sea in remorse for his judgment of his son.
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L'Herbier also took an original approach to the use of intertitles which, instead of being inserted between shots of the film, were integrated into the image itself so that they formed part of the visual design and did not interrupt the flow of the film.
433:. It involved the reconstruction of many of the intertitles and the scheme of colour tinting using L'Herbier's original notes. The work was completed for presentation in 2001. An original orchestral score was composed by
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L'Herbier's structure for the narrative was original in that it started at the end and then told the story in flashback: he claimed that this was the first time that this device been used in the cinema.
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some small cuts in the scene, so as "to show less and suggest more". Screenings of the film resumed, and some months later L'Herbier re-inserted the censored material into the original negative.
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Nolff, a devout Breton fisherman, has taken a vow of silence and lives as a hermit beside the sea. No-one comes near him except the white-clad novice who brings him food.
214:, Gaumont allowed him more resources for his next project, and in the spring of 1920 he drafted a scenario based loosely on a philosophical short story by Balzac called
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384:, so that the two could be presented together. L'Herbier rapidly devised a pastiche of a tale of Oscar Wilde and a parody of a detective story which was called
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in Paris. It was enthusiastically received by both the public and the press. Its critical reputation was well-sustained in subsequent years. Film archivist
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indicated to L'Herbier that he would like another film from him, a lighter one to contrast with the sombre drama of
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by
Michelle Aubert, Jean-Louis Cot et Mireille Beaulieu. (An illustrated account of the restoration process.)
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Marie Martin, "'Féerie réaliste': onirisme et pratiques maniéristes dans l'œuvre de Marcel L'Herbier, de
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In June 1920, L'Herbier took a large crew to
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creating atmosphere in a film about the forces of good and evil that motivate human behaviour.
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issued on DVD in 2009; p.5: "le premier exemple d'écriture cinématographique...
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224:(1917), but now to treat it more lyrically. He gave his story the title
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583:. (Paris: Belfond, 1979) p.52: "Bref montrer moins en suggérant plus".
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437:. A DVD of the restored version was issued by Gaumont in 2009.
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In 1998 a detailed restoration of the film was undertaken by
570:. (Princeton, NJ: Princeton University Press, 1984) p.306.
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Michelle Aubert, Jean-Louis Cot et
Mireille Beaulieu.
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Booklet accompanying the CNC/Gaumont restoration of
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Booklet accompanying the CNC/Gaumont restoration of
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188:) is a 1920 French silent film directed by
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347:. Also in his team as a set-designer was
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1015:Films based on works by Honoré de Balzac
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470:Jaque Catelain présente Marcel L'Herbier
568:French Cinema: the First Wave 1915-1929
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557:l'image pour en souligner le sens...".
404:took place on 3 December 1920 at the
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1020:Films directed by Marcel L'Herbier
535:. (Paris: Belfond, 1979) pp.51-52.
488:. (Paris: Belfond, 1979) pp.48-49.
456:. (Paris: Belfond, 1979) pp.47-48.
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520:Marcel L'Herbier: l'art du cinéma
793:The Perfume of the Lady in Black
613:(retrieved on 26 February 2010).
429:Archives françaises du film and
472:. (Paris: Vautrain, 1950) p.43.
785:The Mystery of the Yellow Room
501:issued on DVD in 2009; pp.8-9.
400:The first public screening of
355:made his début in the cinema.
192:and based on a short story by
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1035:Films based on short fiction
1010:French black-and-white films
376:As soon as it was finished,
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596:issued on DVD in 2009; p.7.
62:Marcel L'Herbier (scenario)
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649:de Marcel L'Herbier (1920)
611:de Marcel L'Herbier (1920)
388:: it carried the subtitle
217:Un drame au bord de la mer
1030:Silent French drama films
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228:, and added the subtitle
131:3 December 1920
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969:The Last Days of Pompeii
937:The Honourable Catherine
151:85 minutes (2256 metres)
703:Le Carnaval des vérités
211:Le Carnaval des vérités
977:The Father of the Girl
873:The Citadel of Silence
758:
913:La Comédie du bonheur
751:Little Devil May Care
18:L'homme du large
961:The Queen's Necklace
640:at Filmsdefrance.com
186:Man of the Open Seas
929:La Nuit fantastique
889:Adrienne Lecouvreur
769:La Femme d'une nuit
645:La Restauration de
607:La Restauration de
544:Henri Langlois, in
516:La Nuit fantastique
1040:1920s French films
833:La Route impériale
735:Feu Mathias Pascal
689:Films directed by
581:La TĂŞte qui tourne
579:Marcel L'Herbier,
533:La TĂŞte qui tourne
531:Marcel L'Herbier,
486:La TĂŞte qui tourne
484:Marcel L'Herbier,
454:La TĂŞte qui tourne
452:Marcel L'Herbier,
349:Claude Autant-Lara
296:as Un des copains
290:as Un des copains
288:Claude Autant-Lara
284:as Guenn-la-Taupe
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308:as Le protecteur
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972:(1948-1950)
948:(1942-1945)
849:The New Men
809:The Scandal
727:L'Inhumaine
653:(in French)
512:Rose France
421:Restoration
312:Lili Samuel
278:as La mère
168:Silent film
49:Directed by
1000:1920 films
994:Categories
825:Le Bonheur
801:L'Épervier
743:Le Vertige
441:References
390:Humoresque
331:Production
324:Pâquerette
272:as Djenna
264:Roger Karl
260:as Michel
222:Le Torrent
204:Background
180:(English:
135:1920-12-03
107:Production
79:Roger Karl
59:Written by
865:The Cheat
719:El Dorado
514:(1918) Ă
396:Reception
341:Finistère
266:as Nolff
117:SĂ©rie Pax
96:Edited by
27:1920 film
881:Rasputin
760:L'Argent
337:Morbihan
198:Brittany
164:Language
72:Starring
431:Gaumont
302:as Lia
156:Country
133: (
115:Gaumont
109:company
67:(story)
980:(1953)
964:(1946)
956:(1946)
940:(1943)
932:(1942)
924:(1941)
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738:(1925)
730:(1924)
722:(1921)
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367:home.
230:Marine
159:France
632:IMDb
339:and
252:Cast
236:Plot
630:at
427:CNC
184:or
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682:e
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137:)
20:)
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