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Omaggio a Marcel Pagnol Homage to Marcel Pagnol

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Omaggio a Marcel Pagnol Homage to Marcel Pagnol OMAGGIO A MARCEL PAGNOL HOMAGE TO MARCEL PAGNOL In collaborazione con Nicolas Pagnol (Compagnie Mediterranéenne de Films) e Bruno Despas (Vision Global) Il restauro dei film di Marcel Pagnol è stato reso possibile dalla collab- The restoration of Marcel Pagnol’s films is made in partnership with orazione con la Compagnie Méditerranéenne de Films, che detiene i the Compagnie Méditerranéenne de Films, which holds the rights to diritti dei lavori del regista, e con Vision Globale, la più importante Pagnol’s works, and Vision Globale, Quebec’s leading film restoration società del Quebec nel settore del restauro, che ha sviluppato il soft- company with its software GeneSys. The restoration materials used ware GeneSys. Per il restauro sono stati utilizzati interpositivi stampati were interpositives wet-gate printed from the original nitrate negatives, sotto liquido dai negativi originali su supporto nitrato, a cui è seguita scanned at 2K resolution. One of the challenges of this type of restora- una scansione a 2K. Grazie a questa metodologia di restauro si cerca tion is recreating what the viewer’s initial experience might have been di ricreare quella che può essere stata l’esperienza dello spettatore without an “original” image reference. After repeated testing of the alla prima visione, pur senza avere a disposizione la fonte “originale”. calibration of the Digital Intermediate chain and extensive work on the Dopo numerosi test sull’intermediato digitale e sui parametri per lo black-and-white development settings, Vision Globale was able to sviluppo in bianco e nero, Vision Globale ha raggiunto uno standard di achieve a contrast and density that were approved by Nicolas Pagnol, contrasto e densità fotografiche approvate da Nicolas Pagnol, promo- who spearheaded the project and is intimately familiar with his grand- tore del progetto e profondo conoscitore del lavoro del nonno. Anche father’s work. The sound was also restored through digital methods. It il suono è stato restaurato con tecnologie digitali. Le Schpountz, del was Le Schpountz, made in 1938, that obviously presented audio 1938, è il film che ha ovviamente presentato maggiori problemi: oltre restorers with the most problems. In addition to the poor quality of the alla qualità scarsa dell’audio registrato – Marcel Pagnol, grande sound recording – Marcel Pagnol, a great advocate of talking pictures, sostenitore del cinema parlato, girò molte scene in esterni quando shot much of the film outdoors while audio techniques were in their ancora la tecnologia di ripresa sonora era agli albori – alcune sequen- infancy – some sequences had undergone significant physical deteri- ze avevano subito un notevole deterioramento fisico. oration over time. LE SCHPOUNTZ FRANCIA, 1938 REGIA: MARCEL PAGNOL SOG., SCEN.: MARCEL PAGNOL; F.: WILLY FAKTOROVITCH; MO.: SUZANNE DE TROEYE, SUZANNE CABON, JEANNETTE GINESTET; MU.: CASIMIR OBERFELD, CAN- ZONI DI JEAN MANSE; SU.: MARCEL LAVOIGNAT (INTERNI), JEAN LECOCQ (ESTERNI); INT.: FERNANDEL (IRENÉE FABRE), ODETTE ROGER (LA ZIA, CLARISSE FABRE), JEAN CASTAN (IL FIGLIO CASIMIR), ORANE DEMAZIS (FRANÇOISE), FERNAND CHARPIN (LO ZIO BAPTISTE FABRE), MAUPI (BARISTA), ROBERT VATTIER (ASTRUC, IL CAPO OPERATORE), LÉON BÉLIÈRES (MEYERBOOM, IL PRODUTTORE), ENRICO GLORI (BOGIDAR GLAZOUNOW, IL REGISTA), HENRI POUPON (GALUBERT, ALIAS NAPOLÉON), LOUISARD (CHARLET), ROBERT BASSAC (DROMART), CHARLES BLAVETTE (MARTELETTE), ANDRÉ POLLACK (PROCURATORE LEGALE), JOSÉ TYRAND ("IL PAPA"), CHARBLAY (IL PORTIERE DEGLI STUDIOS), BOREL (L'ACCESSORISTA), ALIDA ROUFFE (MADAME FÉNUZE), CHAMPETIER (NICK), PIERRE BRASSEUR (COUSINE), LOUIS DUCREUX; PROD.: MARCEL PAGNOL PER LES FILMS MARCEL PAGNOL; PRI. PRO.: PARIGI, APRILE 1938 35MM. L.: 3347 M. D.: 122’. BN. VERSIONE FRANCESE / FRENCH VERSION DA: COMPAGNIE MEDITERRANÉENNE DE FILMS RESTAURATO DA / PRINT RESTORED BY VISION GLOBALE 47 Il più misconosciuto dei capolavori di Pagnol’s least-known masterpiece. Starting Pagnol. A partire da una storia vera acca- from a true story that actually happened to duta alla sua équipe durante le riprese di his crew during the filming of Angèle, Pagnol A I D Angèle, Pagnol costruisce una favola comi- created a comic fable that no longer has R A U ca che non ha più molto legame con il tea- theatrical origins, that belongs to no genre G N A tro, che non rientra in nessun genere cono- and whose moral sense and content alter V A sciuto e il cui senso e contenuto morale si variously, according to the twists of an intri- modificano svariate volte, secondo le peri- gue which is rich and constantly renewed. pezie di un intrigo ricco e costantemente This little fable, full of movement, reveals a rinnovato. Questa piccola favola piena di poetic art which does not boast the preten- movimento rivela un’arte poetica che non sion of being so. It serves as a pretext for ostenta la pretesa di esserlo. Serve da pre- Pagnol to depict with a picturesque and testo a Pagnol per dipingere con senso pit- acid view the little world of the French cine- toresco e acidità il piccolo mondo del cine- ma in the early years of sound, to express ma francese dei primi anni del sonoro, per concretely his ideas on the role of comics esprimere concretamente le sue idee sul and comedy in society, to imagine people ruolo dei comici e del comico nella società, who, while faithfully illustrating his theme, per immaginare dei personaggi che, mentre live their own lives and inspire in the spec- illustrano fedelmente il suo discorso, vivono tator contradictory and even sometimes di vita propria e ispirano allo spettatore dei ambiguous sentiments. The work of a great sentimenti contraddittori e talvolta perfino writer, of a great director of actors, of a crea- ambigui. Opera di un grande scrittore, di un tor of incredibly imaginating characters, Le grande direttore d'attori, di un creatore di personaggi dall'immagina- Schpountz gives Fernandel one of his richest roles. In the opening zione debordante, Le Schpountz dona a Fernandel uno dei suoi ruoli and closing scenes of the film, opposing and reacting (...) Fernandel più ricchi. Nelle scene che aprono e chiudono il film, opponendosi e and Charpin are outstanding. rispondendosi (...) Fernandel e Charpin sono grandiosi. N.B. The film was shot simultaneously alongside Regain so that the N.B. Il film fu girato contemporaneamente a Regain, così l'équipe crew moved from one set to the other. A tour de force in which andava da un set all'altro. Un tour de force dove Pagnol, sempre in Pagnol, always ahead of the times, preceded Gilles Grangier anticipo di una stagione e di una tecnica, precedeva Gilles Grangier (L'homme de joie and L'amant de paille, 1950) and Edgar Ulmer (L'homme de joie e L'amant de paille, 1950) e Edgar Ulmer (Beyond (Beyond the Time Barrier and The Amazing Transparent Man, the Time Barrier e The Amazing Transparent Man, 1960). 1960). Jacques Lourcelles, Dictionnaire du cinéma, Laffont, Parigi, 1992 Jacques Lourcelles, Dictionnaire du cinéma, Laffont, Paris, 1992 TOPAZE FRANCIA, 1951 REGIA: MARCEL PAGNOL T. IT.: TOPAZE; SOG., SCEN.: MARCEL PAGNOL, DALLA SUA PIÈCE OMONIMA; F.: PHILIPPE AGOSTINI, IN COLL. CON JEAN-MARIE MAILLOLS; MO.: MONIQUE LACOMBE; MU.: RAYMOND LEGRAND; SU.: MARCEL ROYNÉ; SCGF.: HUGUES LAURENT; CO.: SCHIAPARELLI; INT.: FERNANDEL (ALBERT TOPAZE), JACQUELINE PAGNOL (ERNESTINE MUCHE), HÉLÈNE PERDRIÈRE (SUZY COURTOIS), PIERRE LARQUEY (TAMISE), JACQUES MOREL (RÉGIS CASTEL-VERNAC), MILLY MATHIS (CONTESSA PITART-BERGNIOLLES), JACQUES CASTELOT (ROGER DE BERSAC), ROBERT MOOR (L'AMABILE VEGLIARDO), YVETTE ETIÉVANT (UNA SEGRETARIA), RIVERS CADET (AGENTE DI POLIZIA); PROD.: MARCEL PAGNOL PER LES FILMS MARCEL PAGNOL; PRI. PRO.: MONTECARLO, GENNAIO 1951 35MM. L.: 3703 M. D.: 135’. BN.VERSIONE FRANCESE / FRENCH VERSION DA: COMPAGNIE MEDITERRANÉENNE DE FILMS RESTAURATO DA / PRINT RESTORED BY VISION GLOBALE Insoddisfatto della prima versione cinematografica di Topaze (diretta Not satisfied with the first film version of Topaze (directed by Louis da Louis Gasnier nel 1932 e interpretata da Louis Jouvet), Marcel Gasnier in 1932 and starring Louis Jouvet), Marcel Pagnol directed Pagnol ne diresse egli stesso una seconda nel 1936, scegliendo il a second version himself in 1936 using the same actor, Arnaudy, 48 medesimo attore, Arnaudy, che aveva who had played the role on the sets of impersonato il personaggio sulle scene di Marseilles. He was so displeased with this Marsiglia. Ne fu talmente scontento che riti- version that he took the prints out of circu- A V rò le copie dalla circolazione e nel 1950 lation and in 1950 decided to produce and A N G decise di produrne e dirigerne una terza, direct a third version, this time with U A R affidando il ruolo a Fernandel, con cui aveva Fernandel, whom he had already worked D I già lavorato in Angèle (1934), Regain with in Angèle (1934), Regain (1937), Le A (1937), Le Schpountz (1938), La fille du Schpountz (1938), La fille du puisatier puisatier (1940) e Naïs (1945). Marcel (1940) and Naïs (1945). Marcel Vallée and Vallée e Pierre Larquey assunsero, rispetti- Pierre Larquey played the parts of the slimy vamente, i ruoli del viscido e ipocrita diretto- and hypocritical school headmaster Muche re Muche e dell'onesto Tamise che avevano and honest Tamise, whom they had already già incarnato nella versione del 1932. played in the 1932 version. La pièce era stata creata nel 1928 per uno spettacolo delle Variétés The play was created in 1928 for a performance at Variétés with e per l'interpretazione di André Lefaur. Racconta l'iniziazione alla vita André Lefaur. It recounts the initiation of a naive, idealist professor di un “candido”, un professore idealista che crede fermamente nella who firmly believes in his mission as a teacher and shuns crooked sua missione di insegnante e rifugge da ogni interesse venale. opportunities. Fired by the headmaster for a series of circumstances, Cacciato dal suo direttore per una serie di circostanze, si ritrova Topaze finds himself caught in a mechanism of corruption which will coinvolto in un ingranaggio di corruzione da cui uscirà profonda- change him profoundly.
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