Nowhere is the constant struggle between art and commerce so apparent as in the world of Film and in this distinctly loose and updated adaptation of Emile Zola's novel depicting the evils of financial speculation, director Marcel L'Herbier is pointing the finger at the money men who feel that their profit-driven investment gives them the divine right to meddle in the creative process. Ironically, L'Herbier would have been unable to make the film without its being financed to the tune of five million francs!
The tug of war between director and producer resulted in the latter excising thirty minutes from the film and not until its restoration half a century later were the lost scenes restored. Indeed it was not until the restoration that the film's acclaim finally matched its reputation and it has belatedly been acknowledged as one of the true masterpieces of silent cinema. As a bonus this same restoration has gifted us a highly charged score for piano composed and played by Jean-Francois Zygels.
The technical virtuosity of this film is simply stunning with the sweeping camerawork of Jules Kruger, low and high angle shots and Eisensteinian montage. L'Herbier's love of Art Deco is again evident in the magnificent sets designed by Lazare Meerson and André Barsacq. We are also treated to spectacular scenes in the Bourse, the fictitious World Bank, the Place de l'Opéra and the piéce de resistance, the financier Saccard's evening party.
L'Herbier has made sure that his film's immensity does not diminish the characters. This is surely Pierre Alcover's finest hour as Saccard, a monster of greed and rapacity who is also a pitiful creature. By arrangement with UFA the film also stars Brigitte Helm and Alfred Abel, both fresh from 'Metropolis'. Miss Helm as Baroness Sandorf has never been quite as sinuous and sensuous as she slithers around encased in Jacques Manuel's fabulous costumes. As she writhes on the sofa she epitomises the sheer carnality of wealth. The slight frame of Alfred Abel as Gunderman is in striking contrast to the corpulence of Alcover as his arch rival and his reptilian-like portrayal makes one think what a marvellous Professor Moriarty he would have made. As a contrast to the slinky Baroness we have the full-figured Marie Glory who is at her most appealing here in probably her finest role as Line Hamelin who is intoxicated by the lifestyle offered by Saccard's money but is not prepared to pay the price required. Dramatically effective is a rare appearance on film of Yvette Guilbert, former cabaret artiste immortalised by Toulouse-Lautrec, as a figure of Doom whose presence has always haunted Saccard and is there to witness his downfall.
This monumental piece is L'Herbier's greatest achievement and in his own words, 'the summit of my silent career'. No true cinéfile I am sure would disagree.
