Editor’s note: David Hare posted this note addressed to Max Berghouse on my Facebook page. It’s too good to leave just to my friends. It responds to Max's Review of a new book on Duvivier by Adelaide University academic Ben McCann.
|Julien Duvivier, Fernandel shooting of
The Return of Don Camillo (1953)
|Jean Gabin ("pageboy wig and toga", centre)
What Duvivier demonstrates is that he was aware of the perils in putting this out to a "liberal" audience, including a Jewish one that the writer was, and the degree to which he could round out the central character so fully as to largely remove the "semitic emphasis" from both the character and the narrative.
|Fernand Gravet, Luise Rainer, Miliza Korjus
The Great Waltz
Also noteworthy. For myself I had never seen any visual footage of Duvivier or heard his voice. Until now however. He is one of the four or five most prominent talking heads in the absolutely superb documentary, A la Recherche de Gremillon on Arrow Academy's new Blu-ray of L'Amour d'une Femme (1953). Duviv in the flesh (so to speak) is a total surprise. Razor sharp eyes and a tight precise voice and spoken tone, which announce thought of deafening perception and clarity. He and Spaak both clearly perceived the subject of the show, Grem, in a way that I haven't read about previously (and I have read copiously on the subject).