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Shorter Reviews 131
acters but only the outward manifestations of their struggle against nature. Nothing is shown of the family life, nothing of the other people on the island — in short nothing to indicate that he spent three years living with them. Instead, he makes the usual travelogue footage: shots of rocks, barren crags, wind-swept isles, the brave faces of the family, and the onmi-present sea. Because Flaherty essentially remains at the surface of the life of the islanders, an audience is not drawn into a deep sympathy with their lot. Their actual life has much inherent drama, but he has not transformed and preserved the excitement and tension of that drama in the film. No one would want him to have inserted a phony story, but one wished he had brought out the immense struggle.
Of course, Man of Aran is a significant film but it is hardly a masterpiece of the screen. The use of actual locale and native peoples, like True Confession Magazine articles, are not necessarily interesting or more valid or "real" because they are true. {Contemporary Films)
MARIANNE
(France, 1958)
Directed by Julien Duvivier
A mysterious and brooding student called Vincent comes to a private boarding school near the Swiss Alps. He is a strange boy, gifted, sensitive, gentle — one around whom the deer and birds of the woods gather. He is prevailed upon by some of his class-mates who wish to carry on a secret initiation to accompany them to a supposedly deserted chateau across the mountain lake. When their ceremony is interrupted by some unseen presence, the boys fearfully run from the house back to their boat and leave Vincent behind. He is captured by a Gorilla-like servant who leads him through a dark hallway into the presence of a beautiful fairly-talelike girl who is kept imprisoned in the old chateau by a tyrannical old man who wishes to marry her. They promise to meet again and Vincent returns to the school in a terrific thunder and lightning storm. Later she sends him a message, but some of his mean classmates prevent him from receiving it. He rushes to the chateau but it is too late, she is gone. As the film ends, he bids farewell to the boys, and promises to find her.
Although Marianne is a fable of adolescent love, father rivalry, the growth from cruelty to compassion and love, and although there are many Freudian overtones, the film is intended to be more of an experience than an object of analysis.
It is purposely obscure and difficult to explain, but this does not mean that the film is slow moving or boring. Indeed, it constantly holds one's interest. The faces, the scenery, the lighting, and the compositions are a triumph of lyric style. The beauty of this film is no surprise to those who have followed the career of Julien Duvivier whose pictorial talent is unquestionably brilliant. A masterpiece of atmosphere, Marianne is romantic in the finest and purest sense of the word, seeing. {Audio Film Classics)