GEORGES BERR, COMÉDIE-FRANÇAISE AND THE SCREEN
Released in December 1909, one month after the screening of L’Assassinat du duc de Guise in the Salle Charras, Les Précieuses ridicules was Le Film d’Art’s first Molière adaptation. Along with Le Légataire universel, based on Jean-François Regnard and released in the same month, the film was also one of the first comedies in this young production company’s catalogue. As for Le Barbier de Séville, which became the property of Pathé following financial difficulties at Le Film d’Art, it was shown in April 1910 as a Série d’Art Pathé Frères production.
If the early days of Film d’Art in 1908 were marked by authors’ difficulties in writing and selecting screenplays, the screen adaptation of works by Molière and Beaumarchais was a natural fit with the repertoire of the Comédie-Française theatre company, and of Georges Berr in particular. Screenwriter of Les Précieuses ridicules, he played a role that he had frequently interpreted with Comédie-Française, that of “a remarkable stage valet”, in the words of historian Jacques Richard. Mascarille (Les Précieuses) and Figaro (Le Barbier) were his most notable roles. A debutant screenwriter and film director by the time he was 43, Berr established his screen presence with great skill. He focused the action on the valets, and chose the most comical scene as the key sequence of the film. Where the spoken word was fundamental on stage, Berr relied entirely on finely tuned body language, adroitly managed. The comic effect was all about the timing between the actors, whose long experience of performing together on stage helped give their characters a pulsating screen presence. To great comic effect, their prowess disproved the notion that ComédieFrançaise sociétaires turned out ham and exaggerated performances.
Both films were restored by Fondation Jérôme Seydoux-Pathé in 2021 from the original negatives preserved in their collection and deposited with Cinémathèque française in 1951. The cards were reconstructed from vintage Pathé cards and with the help of the original screenplays preserved at Pathé. The 4K restoration was carried out at L’Image Retrouvée laboratory, with the support of CNC.

Stéphanie Salmon

LES MISÉRABLES
Albert Capellani’s four-part adaptation of Victor Hugo’s most famous novel, Les Misérables, is an exceptional work. Published in 1862, then serialised in the press, the novel – which was also a polemical social critique – enjoyed unprecedented popular success and was warmly received among working class. This immense social and historical fresco paints a very precise picture of life in France at the start of the 19th century. Through the prism of convict Jean Valjean, Hugo analyses human nature and denounces the conditions of the poorest people. The political and popular interest around this text gave rise to many adaptations. In 1905, Capellani focused on a single episode when he made Le Chemineau. That same year, Alice Guy directed On the Barricade in the US. The 1912 version of Les Misérables is the first long-format adaptation (3,445 metres, which is 2 hours and 40 minutes of film), opening the way for future adaptations (Henri Fescourt, 1925; Raymond Bernard 1934; Jean-Paul Le Chanois, 1958, etc). Giving a naturalistic effect to the productions of Société cinématographique des auteurs et gens de lettres (SCAGL), which he led as artistic director since its inception, Capellani uses mostly natural décor, employing the Vincennes studio for major reconstructions only. The cobblestone streets of Paris and the rural surroundings of the city suburbs give the film an intensely authentic feel. The construction of the studio sets by Henri Ménessier was based on documentary research by Pierre Trimbach, then an assistant camera operator at Pathé, in order to achieve the most realistic effect. The costumes and makeup also show the care that was taken in the reconstruction. This major SCAGL production brought together the big stars of the theatrical scene, notably Henry Krauss in the role of Jean Valjean, together with Mistinguett (Éponine) in a departure from her usual roles. The naturalness of their modern acting was enhanced by the presence of extras and non-professional actors assembled for the crowd scenes. The scene of the barricades with over 90 extras cast as soldiers was a striking case in point. The film was released in four parts in November 1912, at a rate of one episode per week, each devoted to one character (Jean Valjean, Fantine, Cosette and finally, Cosette et Marius). Several front pages in the specialist press heaped high praise on the actors or on Victor Hugo himself, whose face appeared on many of the film posters. At that time, the author and Louis Pasteur were the most popular men in France. Pathé rolled out a major publicity campaign, publishing a lavishly illustrated promotional booklet along with the full cast list. Moreover, the first ever edition of “Pathé-Journal” was devoted entirely to the film. In the US, where the film was distributed by Eclectic (an American Pathé brand), the critical acclaim was also rapturous. It was thanks to the success of this film that Capellani would carve out a role for himself in the American film industry a year later, when he left war-torn France to pursue his career on the other side of the Atlantic.

Manon Billaut