Š-DR-THERESE RAQUIN (fin) - Bio/Filmo de Sylvie

13/04/2014 03:24 par tellurikwaves

Sylvie, ou Louise Sylvie, noms de scènes de Louise Pauline Mainguené, est une actrice française, née le 3 janvier 1883 à Paris 13e, morte décédée le 5 janvier 1970 à Compiègne (Oise).

https://fr.wikipedia.org/wiki/Sylvie_(actrice)

Biographie (très succinte)

Sylvie a commencé en 1903 une importante carrière théâtrale. Bien qu'elle ait, à l'époque du muet, joué au cinéma des rôles importants dans de grands films(Catherine Maheu dans Germinal), elle a continué à consacrer sa carrière au théâtre. Ce n'est que beaucoup plus tard que Pierre Chenal l'a convaincue d'accorder plus d'importance au grand écran, en lui offrant un rôle remarqué dans Crime et châtiment en 1935.

Elle a tourné, au cinéma, plusieurs dizaines de films, mais c'est le dernier, La Vieille Dame indigne, en 1965, qui lui a valu, à 80 ans passés, de voir son talent enfin reconnu à sa juste mesure.

Filmographie
1912 : Britannicus de Camille de Morlhon
1912 : Ursule Mirouet - production Pathé
1912 : Mignon de André Calmettes
1913 : Germinal de Albert Capellani : Catherine
1914 : Marie Jeanne ou la fille du peuple de Georges Denola
1914 : La joie fait peur de Jacques Roullet
1916 : Au-dessus de l'amour de Daniel Riche
1917 : Le Coupable d'André Antoine
1922 : Roger la Honte de Jacques de Baroncelli
1935 : Crime et châtiment de Pierre Chenal d'après Fiodor Dostoïevski
1937 : Un carnet de bal de Julien Duvivier
1937 : L'Affaire Lafarge de Pierre Chenal
1938 : Entrée des artistes de Marc Allégret
1938 : La Fin du jour de Julien Duvivier
1939 : L'Esclave blanche de Marc Sorkin
1940 : La Comédie du bonheur de Marcel L'Herbier
1941 : Romance de Paris de Jean Boyer
1941 : Montmartre-sur-Seine de Georges Lacombe
1942 : L'Homme sans nom de Léon Mathot d'après Le Colonel Chabert d'Honoré de Balzac
1943 : Marie-Martine d'Albert Valentin : la mère de Maurice
1943 : Le Voyageur sans bagage de Jean Anouilh
1943 : Le Corbeau d'Henri-Georges Clouzot : la mère de François
1943 : L'Île d'amour de Maurice Cam
1943 : Les Anges du péché de Robert Bresson : la prieure
1945 : Le Pays sans étoiles, de Georges Lacombe : Mme Le Quellec
1945 : Le Père Goriot de Robert Vernay d'après le roman Le Père Goriot : Melle Michonneau
1945 : La Route du bagne de Léon Mathot
1946 : L'Idiot de Georges Lampin
1946 : Coïncidences de Serge Debecque
1946 : On ne meurt pas comme ça de Jean Boyer
1946 : Pour une nuit d'amour d'Edmond T. Gréville
1947 : Miroir de Raymond Lamy  : la baronne
1947 : La Révoltée de Marcel L'Herbier
1948 : Tous les deux de Louis Cuny
1948 : Deux amours de Richard Pottier
1949 : Pattes blanches de Jean Grémillon : la mère de Maurice
1950 : Dieu a besoin des hommes de Jean Delannoy : La Karabassen
1951 : Sous le ciel de Paris de Julien Duvivier : Mlle Perrier
1951 : Le Petit Monde de don Camillo (Don Camillo) de Julien Duvivier : Madame Cristina
1952 : Le Fruit défendu d'Henri Verneuil : Mme Pellegrin, mère
1952 : Nous sommes tous des assassins de André Cayatte
1953 : Thérèse Raquin de Marcel Carné d'après le roman du mm nom: Mme Raquin mère
1953 : Quelques pas dans la vie (Tempi nostri) de Alessandro Blasetti
1954 : Ulysse (Ulisse) de Mario Camerini : Euriclea
1955 : Le Dossier noir d'André Cayatte
1956 : Michel Strogoff de Carmine Gallone : Marfa, mère de Michel Strogoff
1956 : Les Truands de Carlo Rim
1958 : Le Miroir à deux faces de André Cayatte
1959 : Quai du point du jour de Jean Faurez
1960 : Crésus de Jean Giono : Delphine
1962 : Journal intime (Cronaca familiare), de Valerio Zurlini : La grand-mère
1963 : Château en Suède, de Roger Vadim : La grand-mère
1965 : Humour noir , épisode La Bestiole de Claude Autant-Lara : La mère Belhomme
1965 : La Vieille Dame indigne de René Allio : Madame Bertini

Télévision
1965 : Belphégor ou le Fantôme du Louvre, feuilleton télé de Claude Barma : Lady Hodwin
1968 : Don Juan revient de guerre, de Marcel Cravenne : la grand-mère

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Š-DR-THERESE RAQUIN de Marcel Carné (1953) p13

13/04/2014 03:06 par tellurikwaves

Distinctions/Récompenses

-Italie Mostra de Venise 1953 : Lion d'argent de la meilleure réalisation à Marcel Carné.
-Japon Kinema Junpo Awards 1955 : prix du meilleur film en langue étrangère à Marcel Carné.

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p12

13/04/2014 03:02 par tellurikwaves

Vivid and brooding, a Euro-noir, with a cold, stunning Signoret...slow but alive
8/10
Author: secondtake from United States
30 August 2010

You may be familiar with the lead actress, Simone Signoret, from Les Diaboliques, made a year after this film, and she plays a similar conflicted or complex,strong type of woman in a sordid world. She plays the title character, based on a Zola story, who is swept into a romance she doesn't completely expect and then a murder that she doesn't completely abhor.

And she is rather brilliant, a slightly different type than American actresses of the time, but commanding in her stoic intelligence. The two men are both first rate, one a foreign (Italian) charmer and the other a sharper fellow who is only slightly over his head. In fact, everyone is just slightly extended into decisions they don't quite know how to make. The fact that things go wrong is just part of great drama, and part of life, too.

The filming (photography and editing) is totally gorgeous here, The plot progresses slowly enough it might seem to drag, but I think it works in the long run, setting a deliberate and inevitable pace to events. What is maybe weakest is the ending, where things get a little spectacular, perhaps in a fascinating way, but certainly no longer believable.

Director Marcel Carne is no household name in this country, but the strength of this film alone makes me want to find others and get a feel for his style. Recommended for those who like drama, melodrama, and a sort of Euro-noir style, and who don't mind reading subtitles.

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p11

13/04/2014 02:57 par tellurikwaves

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p10

13/04/2014 02:54 par tellurikwaves

Roland Lesaffre : Henri dit « Riton » le matelot maître chanteur

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The stranger in the train
8/10
Author: jotix100 from New York
18 May 2007

*** This review may contain spoilers ***

Emile Zola's novel about adultery, blackmail and murder, was adapted for the screen by Marcel Carne and Charles Spaak, two men who knew about all the elements that show so prominently in the book. In fact, Mr. Carne seems the obvious choice to tackle this work that packs quite a lot. Emile Zola was one of France's best writers of his time. His work always reflected human beings at a crossroad, as is the case in "Therese Raquin", one of his best novels.

Therese, the young woman at the center of the story, is married to her sickly cousin Camille. One look at Therese tells it all, she's caught in a no win situation as long as she remains married. Therese is ready to satisfy the sexual desires bottled in her. Enter the dashing young driver Laurent. He likes Therese and she feels, for once in her lifetime, the spark that brings her to life. It's clear she falls for this stranger with a passion she didn't know she had within her.

Zola seems to be a role model for writers like James Cain, who also saw what passion could do to sexually repressed individuals. The theme of "Therese Raquin" evokes some modern novels like Mr. Cain's "The Postman Always Ring Twice", and "Double Indemnity", to cite only two of his works also turned into successful films.

Camille, who senses his wife's betrayal, decides to take her away to some relatives where she would be safe, away from the temptation of the handsome man that could mean her salvation. Therese and Laurent have another thing in mind, as it becomes clear when the young lover happens to be in the same train as the Raquin. Little prepares them for the stranger that is also riding the train and who will come back to haunt them.

Simone Signoret makes an appealing Therese. Ms. Signoret was an interesting actress to watch on any of the films she appeared. Therese was one of her best creations as she gives the director a nuanced performance in what remains to be one of her best roles she played on the screen. Handsome Raf Vallone appears as the man who seduces the beautiful woman in an unhappy marriage. Sylvie is perfect as the mother who knew in her heart about her niece's betrayal. Marcel Andre as the blackmailer Michaud also creates the necessary tension for the lovers.

"Therese Raquin" is not seen often theses days, but it's worth a look for people who love the genre to watch one of Marcel Carne's best works in the French cinema.

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p9

12/04/2014 17:14 par tellurikwaves

Don't throw this one off the train.
8/10
Author: FilmSocietyMtl from Canada
22 September 2007

I'll have to disagree with some of the more negative comments about this film. Marcel Carne has succeeded beautifully in capturing the mood and major themes of Zola's novel in THERESE RAQUIN. It's nice to see a film from the period dealing with common working class people caught up in the turmoil of love and everyday life.

The main romantic leads initially seem a little mismatched but by film's end the ice has more than melted between them. How many times have we seen the female lead fall too quickly for her suitor. Here it takes its sweet time and plays the better for it. Signoret's titular character seems almost a bit too stoic but considering her numbingly bland and lenghty marital situation, it may well be authentic.

As many women are in reality, Therese is fiercely loyal to her husband, whether he deserves it or not. The ruggedly handsome Raf Vallone is ideally cast as the trucker who steals her attention and makes a good contrast to her dishrag of a husband.

A blackmailing sailor who appears in the middle of the film before making a menacing reappearance near the end is very effectively played by Rolland leSaffre. He is as creepy as Robert Mitchum in CAPE FEAR. Do seek this one out and enjoy the ride!

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p8

12/04/2014 16:30 par tellurikwaves

Similar to "The Postman Always Rings Twice" but better.
9/10
Author: planktonrules from Bradenton, Florida
4 November 2013

*** This review may contain spoilers ***

When "The Adultress" (a.k.a. "Thérèse Raquin") begins, you soon see a big problem. Young Thérèse (Simone Signoret) and her wimpy husband Camille live with his mother--and this mother babies him and dominates the household. This awful woman insists that it's a woman's duty to serve her husband and romance has no place in marriage!

The marriage is clearly a ponderous existence. It's obvious any sane wife would soon get sick of this sort of nothing life--and, not surprisingly, Thérèse does, though she does not yet realize it. It all begins to change when a virile working-class man, Laurent (Raf Vallone) brings the husband home one night when the husband is drunk. Laurent and Thérèse meet and things slowly begin to smolder. And, like in "The Postman Always Rings Twice", the lovers decide they cannot continue like this--and eventually they do away with Thérèse's emasculated husband. Of course, that's not the end of the story.

While you might think the film borrowed from James Cain's novel, the story is actually much older (and Cain might have been inspired to write "The Postman Always Rings Twice") and is from an Emil Zola novel. The parallels are certainly obvious. However, in "The Adultress" you actually feel sorry for the wife and given the awfulness of the husband and his mother, you CAN sympathize and almost excuse the killing--especially since it was not premeditated.

In the other, however, the wife is essentially an awful conniver and the husband, though old, is a decent and loving man. I actually think the way "The Adultress" constructs the story this is better, as it's much easier to connect with the characters and care about their fates. You don't so much excuse their actions but understand and empathize a bit for them.

Plus, Thérèse is the opposite of Cora (from "The Postman")--she DOES have a conscience and she is not exactly evil. Overall, "The Adultress" is an excellent film with exceptional performances. I also loved the moral ambiguities about the film--ambiguities that make the viewer think. I also appreciated the very unusual and very surprising ending--it's worth it!

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Triangle ends in death and blackmail
8/10
Author: filmtherapy from United States
11 November 2012

*** This review may contain spoilers ***

A woman (Therese) brought up by an aunt and more or less forced to marry her whiny sickly pasty fleshed cousin (Camille) has resigned herself to a dull gray loveless life working in a small fabric shop owned by her mother in law. Through accident she meets Laurent who makes a play for her and becomes her lover.

This love affair intensifies and Laurent pressures Therese to leave Camille...there is a confrontation between the members of this triangle on a train and Camille is accidentally killed when an enraged Laurent pushes him off the train in a scuffle.

His death is ruled accidental and all would seem to be OK until a witness shows up to blackmail the couple. The movie presents the essential theme of the original Zola novel. In the book the lovers grow to hate each other as they wait for things to cool down after Camille's death (they drown him) and there is much more twisted psychological drama between them and the mother in law.

However this is a tight nice story in this form and the movie has 3 attractive good actors and is suspenseful fun entertainment.RECOMMENDed

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p7

12/04/2014 16:20 par tellurikwaves

Raquin tour
7/10
Author: melvelvit-1 from NYC suburbs
13 December 2007

*** This review may contain spoilers ***

When a woman who has never known love or happiness has a chance at both, everyone in her orbit suffers the consequences.

Very loosely based on Emile Zola's 1867 novel of adulterous lust, murder, torment, and poetic justice, Marcel Carne's THERESE RAQUIN stayed true to the spirit of the Realist movement as a character study of a woman undone by the pressures of her environment. Therese (Simone Signoret) is so resigned to her life and it's injustices -and so misguided in her obligations to it- that her story could easily have been subtitled "The Misfortunes Of Virtue".

Long past quiet desperation, Therese has anesthetized herself to a dismal future and when her husband's new-found friend, Laurent (Raf Vallone), falls for her it's impossible for the woman to break free from her self-imposed prison. The love she feels for Laurent nearly stirs her to action but ultimately the affair only emphasizes a "No Exit" situation. Passion and premeditated murder characterized both the Zola horror novel and Luchino Visconti's James M. Cain-inspired OSSESSIONE (to which Carne's film has been erroneously compared) but here they have been eliminated and an inexorable fatalism have taken their place.

Therese's existence is self-fulfilling prophesy and her bad karma literally and figuratively drain the life out of her husband and his mother, her lover, and even her blackmailer. Bitter irony is only the natural course of events and the black cat she keeps as a pet symbolizes the bad luck its mistress brings; when Therese's lover kills her husband in a fit of anger, the attempt to cover it up only hastens their love's pre-ordained end. Adapting Emile Zola is an ambitious undertaking; the effects of heredity and surroundings are key in his works but so is the sex and savagery inherent in the human beast and it can't be cut out without emasculating the whole.

There's some passion in Vallone's Laurent before Signoret's inverted Emma Bovary begins to have an effect on him but not enough to carry a film. Director Marcel Carne took a theme or two beloved of Zola as well as Film Noir and, by having the heroine sleepwalk to her fate, created a strangely numbing portrait of dashed dreams in a bourgeoisie trap with no way out. Setting the tale in the present instead of the late 1800s when women's options were far more limited only diluted the theme of an oppressive environment's effects.

On the plus side, the world-view is very downbeat-dark and should have been a "noirist's" delight because it ended badly for everyone, including the peripheral characters -and when that happens, it's the film's philosophy and universe. Happiness here can only come at the expense of others: Therese's husband and his mother's happiness came at a cost to Therese and her shot at happiness was devastating to them. The war hero/blackmailer's dreams were extorted from both Therese and Laurent while Laurent's happiness was undercut by the one who made him happy. A truly ugly world ...and, honestly, why bother living in it?

Unhappy fates are a given and not even the ruthless who care nothing for what it costs others can never attain what they really want -or if they do get it, its not for very long. All of this is great "noir" ...but what happened in it's filmic depiction? There's some great symbolism that show the care and effort Carne et al put into this: The black cat (Therese's luckless lot) was put outside while the lady entertained Laurent in her room (the only happiness she'd ever know) but old Mme. Raquin brought it right back to her door; Therese doted on the omen which signifies an embrace of her fate.

Those weekly games of chance were a metaphor for life and contains a favorite noir theme concerning existence: "You can't win, you can't break even, you can't even quit the game". Here, if you do win, you've either cheated or are accused of it and, of course, it always comes at a price to someone else. I should have been depressed looking in on their world ...or angry ...or something as the end credits rolled -and that's just it -I wasn't moved at all. Could that have been what Carne intended all along? To be as deadened to the proceedings as Therese was to her life?

There are a few suspenseful moments, a superb supporting cast, some beautiful Lyon scenery, a touch of homo eroticism, and train scenes reminiscent of LA BETE HUMAINE/HUMAN DESIRE, but a Zola-inspired tale doesn't guarantee deliciously dark entertainment and the film is neither recommended nor to be avoided.Kino has used a pristine print for its DVD transfer and this weighs in its favor but the lack of extras doesn't.

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p6

12/04/2014 11:40 par tellurikwaves

Contrived, but So Was the Book
7/10
Author: Hitchcoc from United States
19 September 2012

Emile Zola wrote page turners.He focused on the injustices of the great unwashed of France from miners to prostitutes. His books were incredibly naturalistic and moralistic. His characters seldom came through unscathed but made a statement about the cultural milieu of the time. This is a story about passion.

Therese Raquin is the wife of a tiresome mama's boy hypochondriac. She is beautiful and is married to this childish wimp. Along comes the handsome truck driver after she has spent six empty years with this guy. They have tryst and even let the husband know that he is going to lose his wife. Everything changes when, on a train trip to Paris, fate takes over. Granted, there are lots of plot contrivances, but that's the literary style of the period.

Also, in the naturalist tradition, the characters often lose control of their destinies. There is a broader moral sense that trumps the likable ending that people are used to in movies made at this time. The writer and the director can't turn their backs on issues like these and so life goes on and the impulsive and evil are punished alike.

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1 out of 8 people found the following review useful:
 
Expected better
6/10
Author: Alex da Silva from United Kingdom
5 July 2009

Therese (Simone Signoret) is unhappily married to Camille (Jacques Duby) and lives with him and his mother Madame Raquin (Sylvie) who is also her aunt.

Basically, she's married to her cousin ....in the tradition of all royal families...Anyway, the mother is over-protective of her son and critical of Therese while Camille is a spoilt brat who is rather feeble in both character and health yet tries to maintain a bullying stand with his wife. A good example of "small man syndrome". Not surprisingly, Therese is not happy with her lot. She meets Laurent (Raf Vallone) and they fall in love.

Laurent wants her to leave with him immediately and confesses to their affair to Camille. Camille's solution is to take Therese away for a break where he intends to lock her up so that no-one can get to her. They get on a train for the journey but Laurent has other ideas. A passenger on the train, Michaud (Marcel Andre) also has other ideas...Do the lovers get away?

The film is slow moving so there are moments when you think "come on lets develop this story a bit quicker!" The acting is good from the main players and Marcel Andre has a definite Robert Mitchum look to him, if slightly camp. The ending is a mess that doesn't work itself out clearly. You will need to make assumptions as to what is probably going to be the outcome. I suspect that this was not the intention as we are offered the twist at the end. However, it doesn't work because of the circumstances. Its alright but I thought it was going to be a better film than it was.

Š-DR-THERESE RAQUIN de Marcel Carné (1953) p5

12/04/2014 11:24 par tellurikwaves

Production

Scénario
Les principaux changements apportés au scénario par rapport au roman d'Émile Zola sont la transposition de l'action dans les années 1950 et l'ajout du personnage du jeune maître-chanteur, incarné par Roland Lesaffre, qui vient menacer les amants Thérèse et Laurent dans la seconde partie du film et les perdra accidentellement.

Genèse
Simone Signoret : « Quand les frères Hakim m'avaient proposé le rôle, j'avais verbalement accepté, à condition que Marcel Carné fasse la mise en scène. [...]À Thérèse j'avais donc dit « oui », et puis j'avais dit « non », et dans les fichiers des frères Hakim comme dans celui très bien tenu de Marcel Carné, je devais être classée sous la rubrique « Emmerdeuse qui ne sait pas ce qu'elle veut ». [...] J'ai cherché studieusement le numéro de la production. Je le connaissais par cœur. [...]

Lentement, j'ai composé le numéro. [...] J'ai dit : « C'est moi, Robert, je veux bien faire Thérèse. » Je m'attendais à tout, par exemple : « C'est trop tard, ça ne nous intéresse plus. Carné est fâché, Melle X a signé son contrat... » Mais si Robert Hakim a jamais eu la voix d'un séraphin, il l'a eue ce jour- là en me répondant : « Je suis content, signons demain. » [...] Avec Thérèse, je retrouvais Carné à qui je racontai tout ce qu'il avait ignoré de notre vie de figurants à Vence. J'aimais bien Vallone. Vallone m'aimait bien, j'aimais Montand, et Vallone respecte les femmes d'Italiens qui aiment leur mari... »