dlee2012
This black and white adaptation of Zola's Gervaise is extremely well-acted and filled with pathos. From the gaiety of the early scenes, the audience is drawn into Gervaise's downward spiral and struggle in an impoverished, uncaring society.The cinematography conveys a sense of bleakness as do the costumes and settings. However, pacing is a problem. Whilst the most cinematographic sequence in the film (the fight between the women) occurs at the outset and gives the narrative a fast-paced introduction, the tempo slows a little too much during later portions.The sequence of the fall from the roof is also poorly-executed and appears more like slapstick comedy than tragedy.Aside from these two scenes, there is little action, so at times the film feels a little too much like a stage play. The cinematography is quite static as well which works well in some scenes but not in others. There are few close-ups to convey the characters thoughts and far too much middle-distance filming which distances the viewers from the action.Although it has its flaws, this is still a more effective attempt to capture Zola's work on film than the previous year's version of Nana.
rowmorg
First, the setting: how did Clement manage to re-create so well the surroundings of 1850s working class Paris? Then the costumes: faultless! The dialogue: painfully realistic. Gervaise's lover and her husband are portrayed as attractive men lacking will-power, although they are fairly decent to poor, limping Gervaise with the pretty face and indulgent manner. They actually take a liking to each other and live together with her, both scrounging off her laundry business that a third man donated to her.Another commentator pointed out the murderous urban working hours, more than 15 hours a day for most, and pay was just sufficient to survive. There was no welfare, no pension, no nothing. This was the workaday world against which Gervaise rebelled, determined to acquire her own laundry business. Of course, the useless men managed to wreck everything for her. It's a wrenching drama, with the inexorable sad ending. Extraordinary that only 10 people have managed to view it and comment upon it.
LCShackley
This is a beautifully made, but terribly sad film, based on one of Emile Zola's most depressing stories of French life in the 1800s.Gervaise is a poor woman with a poorer choice of men. She is loving, smart, and industrious, but falls for superficial, lazy drunks who take advantage of her. While she tries to provide for her family by following her dream of owning her own shop, her husband drinks away the profits and complicates her life by inviting her former lover to live in their house.I can't say enough good things about Maria Schell's glowing performance as a tragic heroine. Her beautiful, expressive face is impossible to forget, and her emotional range is impressive. The rest of the cast is also pitch-perfect, from her various neighbors and clients, down to the lovely little girl who plays daughter Nana with touching sadness.Surgeon general's warning: don't watch this film while under the influence of alcohol or mood- depressing drugs. It might push you over your limit.
silverauk
François Perier as the alcoholic Henri Coupeau is unsurpassed as sick man having his overdose and delirium by alcohol. Maria Shell as Gervaise is convincing as the poor woman working day and night for the drunken men she is having in her home and her little daughter! This movie should be shown to all people having drinking problems. As it is set in a different period (the end of the second Emperor Napoleon's reign) is has something universal. The general atmosphere of this epoch is however very accurate.
AD
