La donna dai due volti

Considered one of Alfred Hitchcock's best films, 1958 "Vertigo," concerns a private eye who falls in love with his client's wife, only to see her doppelgänger appear in a city street after he had witnessed her jump to her death from a tower. The framework of Hitchcock's plot, although reportedly taken from a different source, contained strong elements from Jacques Feyder's May 1934 "Le Grand Jeu."

Feyder had just returned from a unsatisfying stint at Hollywood's MGM, where he had directed Greta Garbo's final silent film, 1929's "The Kiss." Before leaving, he felt Garbo would be perfect in 1932's 'As You Desire Me,' a similar storyline as his later "Le Grand Jeu," a title which means the reading of cards, or telling the entire story. Feyder felt the actress' double should have a different voice than her primary character. He never got a chance to direct the movie, but the idea stuck with him when he returned to France. Feyder and scriptwriter Charles Spaak composed the story of a Paris businessman, Pierre Martel (Pierre Richard-Willm), who is forced to leave the country after running up exorbitant debts through his expensive lifestyle. His financial backers pay his bills only if he agrees to leave France. He split from his girlfriend Florence (Marie Bell) and joined the French Foreign Legion, where he meets her look-alike, Irma (Bell), with the exception of having darker hair. Things get wild when Pierre finds out he's inherited a large fortune. So struck by the impact of "Le Grand Jeu," film reviewer Joseph Ewens wrote, "It's rare to find a film that is thought provoking without being challenging and comfortable without being banal. It's a delightful story of emotional cascades that considers the way we relate to other people."

Feyder dubbed Marie Bell's voice as Irma by off-screen actress, Claude Marcy. She also voiced all the Garbo films for French distribution. "Le Grand Jeu" contains elements of 'poetic realism,' the 1930's French film movement that focused on the characters rather than on the settings. Jean Vigo's 1933 "Zero de Conduite," is a prime example where the movie characters' fatalistic views were front and center. "Le Grand Jeu's" 'poetic realism' is represented in Blanche, the hotel manager's wife where Pierre is staying. Her reading of the cards unfolds his past life and his predictive future. Later French classics, such as Julien Duvivier's 1937 "Pepe le Moko," whose protagonist closely resembles Pierre's situation, Jean Renoir's 1939 "La Grande Illusion," and most of Marcel Carne's films, all derive from the country's popular movement, 'poetic realism.'

"Le Grand Jeu" was part of a number of continental movies that played a huge influence on the Italian Neorealism and the French New Wave films of the 1940s and 1950s. In their book on the History of the Film, authors Maurice Bardèche and Robert Brasillach claim "Le Grand Jeu" is "one of the few films made based on a new idea, since the invention of talkies."

Pierre Richard-Willm has gone through his money keeping mistress Marie Bell and himself happy. His family agrees to clear his debts, but only if he leaves the country. Mlle. Bell makes excuses, so he does what anyone else does. He joins the Foreign Legion. There he distinguishes himself, turning down a promotion to sergeant, he also meets a prostitute played by Mlle. Bell in a brunette wig. She has a wonky memory and falls for him. He slowly convinces himself she is the same woman.....

Jacques Feyder tries his hand at poetic realism, with all the standard tricks, but without Gabin or Duvivier's misogyny. The result is a far more straightforward movie, propelled by the director's skilled story tellin, about two people in love who torment each other.

Very few movies for me have captured the tragedy and pageantry of life in one fell swoop, the other two are Les Enfants du Paradis and The Satin Slipper, supernatural titles which must be uttered only in awe. These are decidedly Promethean movies, which beg a thunderbolt from above for their creators. Such movies through their genius seem sacrilegious.

Exuberant, blithe and foolish, Belle Époque nitwit Pierre lives a pampered lifestyle with a sinecure at the family bank. Innocently in love with a man eater, he throws more and more "borrowed" money into the fire of her greed in the hopes of putting it out. Years of disgrace follow where Pierre must learn to be a man like other men, to silently put up with being un raté, to watch his life slide out of view, to take his pleasures where he can in exile with the Foreign Legion. The Book of Ecclesiastes suggests that the only solaces in life are those provided by hard work and immediate pleasures such as eating and drinking, if so then Pierre's exile is something of an unlooked-for gift, a release from perpetual childhood.

Le Grand Jeu is a film that makes one to wonder if God didn't conflate lust and love when He created the world. The filmmakers create their own world in miniature here, a world where people live with the ghouls of their pasts sat on their shoulders, loving without being loved back, cursed by lust unattainable, or attainable and consuming, damned one way or the other. It was a refreshingly raunchy movie with quite the most triple-x-rated cabaret song, from La môme Dauville (Lyn Clevers), recalling Minnie Cunningham (an English tease immortalised by the painter Walter Sickert). Whilst lust does seem to inhibit the possibility of true love, male lust in particular is treated as something natural and not to be ashamed of.

So the world is a casino and our fortunes dictated by Fortuna (the great game of the title). One's only weapon against all this seems to be morale. That seems the key message of what is I would say, a perfect movie (it's probably also pretty similar in that regards to Les Enfants Du Paradis, and no surprise to find out that Marcel Carné was an assistant on this movie). Marie Bell and Pierre Richard-Willm act their hearts out here.

The screenplay of Jacques Feyder is very modern:in its own way,it predates , by 25 and more than 40 years respectively Hitchcock's "Vertigo" and Bunuel's "object of desire" .

A man has to join the legion étrangere to avoid a scandal.He leaves his lover,a selfish spoiled woman he is always in love with and heads for the desert:there ,in the brothel,he meets a hooker who extremely resembles her former woman.Is she THE ONE?Sometimes it seems she is and sometimes she isn't.Marie Bell's voice was dubbed for the part of the prostitute,so there were actually two actresses almost like in Bunuel's last film.

However,it seems to me that when you watch the movie some 70 years after something is lacking and it is madness.The silent era could create it and whereas we would need folie à deux,amour fou,we're left with melodrama.Pierre Richard-Wilm was a rather bland handsome actor while Marie Bell had not enough presence,not enough ambiguity.Françoise Rosay ,the madam who draws cards ("the major arcana" is the meaning of the title)and discovers very strange things about the future,-which does nothing but accentuates the melodramatic side-,and Charles Vanel as the "house"'s owner easily outstrip both of them.There is one scene Luis Bunuel would not have disowned: Marie Bell,taking flypaper down with Vanel's lustful eye on her legs.

The Légion Etrangère as a way out when you were threatened in your native country was a permanent feature in the years before WW2:that was also the subjects of "Beau Geste" and Duvivier's "la bandera" .But whereas the two other works focus on every aspect of a Légionnaire's life,in Feyder's movie ,we almost never move out of the brothel.I hardly exaggerate.It's not surprising it was stigmatized by the Catholic Office of Cinema :what else could they do? Marcel Carné was influenced by Jacques Feyder.Not only he was his assistant,but he also met his favorite actress Arletty while they were making "pension mimosas".And Feyder's wife Françoise Rosay starred in Carné's first real movie "Jenny".

Robert Siodmak made a remake in 1954,Jean-Claude Pascal,Gina Lollobrigida and Arletty taking on Richard-Willm's ,Bell's and Rosay's parts.It was a disappointment.

This is a fine film from the golden age of french cinema, directed by the now nearly forgotten Feyder who was among other things the spiritual father of Marcel Carné (who contributed to several of his films). As usual, his wife Francoise Rosay has one of the leading roles. The somewhat melodramatic plot involves a yeuppie joining the foreign legion when he can no longer entertain the girl he loves. We get a femme fatale double as our hero meets a honky tonk temptress who reminds him of the girl he is trying to escape. The atmosphere is thick with sand, booze, sex, violence and Tarot cards. See this one if you have the chance, it is probably quite rare.