Independent Exhibitors Film Bulletin (1961)

JHm *i ktitiHcticH "Fanny" Warm, Human, Delightful Comedy-Drama Josh Logan's laughs-and-tears masterpiece, a treat for every audience. Firm, long-run fa.o. entry. Vive "Fanny!" a sweetheart of a motion picture that will light up boxoffice skies everywhere. In this warm and stirring Warner Bros, release, all of the colorful characters from Marcel Pagnol's Marseilles Trilogy ("Marius," "Fanny," "Cesar") are delightfully brought to life once again. Although producerdirector Joshua Logan has based the film on his hit Broadway musical of several season's back, he has this time seen fit to unfold it in terms of a mirthful drama without a song being sung. What emerges is heartwarming entertainment overflowing with humor and pathos, a film destined to captivate audiences of every taste, every age. The charm of "Fanny" lies largely in the way laughter and heart-break are intermingled, in the naturalness of the characters, and in the richly-hued Technicolor locales of the Marseilles waterfront. Visually, the mood is set by Jack Cardiff's outstanding lensing, while Julius J. Epstein's salty, Gallic -flavored dialogue gives the characters validity, and the performances of Leslie Caron, Maurice Chevalier, Charles Boyer and Horst Buchholz create dynamic, sympathetic and memorable human beings. This cast of popular international personalities, and the word-of-mouth this superb movie is certain to stimulate portends long runs and big grosses in all situations. Despite the fact that the heroine (Miss Caron) has an illegitimate child and gives herself in marriage to an aging and wealthy widower (Chevalier), there can be no objection to "Fanny" on this score, for the situation has been handled with the utmost of taste, reflecting not a plea for amorality, but a touching comment on youthful and honest love. Miss Caron brings her wistful beauty and sincerity to the role of Fanny, daughter of a waterfront fishmonger, deeply in love with the handsome Marius (Buchholz), but willing to give him up because she believes he loves the sea and wants to escape from Marseilles more than to become her husband. Her growth from a love-struck teenager to a woman aware of many types of love and a responsible mother will win viewers everywhere. Boyer is superb as Cesar, Buchholz's hard-working barkeep father who is many men in one: a practical joker; a man of simple tastes but possessing deep understanding; a father saddened by the fact that his only son has run away to sea. Handsome young Buchholz proves that he could become one of the screen's leading romantic personalities. His finest scenes are with Miss Caron the night before he sails, when he returns and discovers that Chevalier's son is actually his, and when he is reunited with the boy (Joel Flateau) nine years later, the latter not knowing Buchholz really is his father. But the surprise of the film is Chevalier. He is outstanding as Panisse, the wealthy widower who loves Miss Caron and yearns for a son. Without once donning the familiar straw hat or singing cne note, he proves himself an actor capable of projecting humor, warmth and compassion. His performance will be talked about as much as the picture itself. The support is excellent: Georgette Anys is Miss Caron's acid-tongued mother; Charles Boyer, Leslie Caron and Maurice Chevalier Baccaloni, the lazy ferry boat captain; Lionel Jeffries, the Englishman who becomes an honorary member of the waterfront inner-circle; and Raymond Bussieres, a dotty oaf who helps Buchholz run away. Logan has superbly combined his theatre knowledge with the cinema medium, maintaining a continuously flowing pace while unfolding the story in many striking close-ups. Nor does he once allow any situation to become maudlin. Chevalier's death bed scene is but one of many unforgettable scenes. There is Boyer vainly trying to show Buchholz how to mix a drink; Chevalier and the stupid Baccaloni cheating Boyer and Jefferies at cards; the flirtation sequence between Chevalier and Miss Caron, with the jealous Buchholz fuming; Chevalier's complete joy when the pregnant Miss Caron comes to accept his proposal of marriage. This skillful blending of clowning, crying, raging, thoroughly human people makes "Fanny" the winning picture it is. Harold Rome's lilting background score is of vast value in setting the mood of many scenes, ditto Anne-Marie Marchand's colorful costumes and Robert Turlure's authentic sets. When a horrified Mile Anys discovers Buchholz and Miss Caron in bed together, she insists Boyer force Buchholz to marry her daughter. Miss Caron lies to Buchholz, knowing he loves the sea more, and tells him she'd rather marry the rich Chevalier. The latter turns out to be an excellent husband and father (aware that Miss Caron loves only Buchholz), and pacifies Boyer (who learns the truth about the child) by making him the baby's godfather. On the child's first birthday, Buchholz returns, but Boyer persuades him to leave Miss Caron and Chevalier alone. On the boy's ninth birthday, Bussieres takes him to Buchholz, now a garage mechanic. Miss Ciron finds them and tells them that Chevalier is dying. Chevalier's death bed request is that Buchholz marry Miss Caron because he feels his son should have a father, even though it's his own. Warner Bros. 133 minutes. Leslie Caron, Maurice Chevalier. Charles Boyer, Horst Buchholi. Produced and Directed by Joshua Logan. Page 8 Film BULLETIN July 10, 1941