REVIEW: ‘Marius’ begins Pagnol’s Marseille Trilogy with romance in the port city
Marius, directed by Alexander Korda and written by Marcel Pagnol, is the beginning of one of the best filmic trilogies in the history of international cinema. This 1931 French classic stars Pierre Fresnay as the title character, a 20-year-old living in Marseille and helping his father, César (Raimu), with a local bar. He has two loves in life: sailing and Fanny (Orane Demazi), the daughter of the local fishmonger. It’s inevitable that these two loves will come to a head and cause a life-affirming decision for Marius.
What makes Marius so enjoyable more than 85 years after its original release is the comedy and romance. Marius and Fanny have a real and difficult relationship, one that doesn’t fit the usual cinematic mold. They have known each other for their entire lives and obviously have feelings for each other. However, Marius drags his feet when it comes to commitment, and that’s mostly because he wants more out of life than what his father, the family bar or the city of Marseille can give him.
At the same time that he’s contemplating leaving the French seaside for a years-long expedition on a vessel in need of one more sailor, Fanny delivers some shocking news: She is considering marrying the local sailmaker, an older man named Panisse (Fernand Charpin). Marius objects to the marriage because of the age difference and his own feelings toward Fanny. However, the only way to stop the nuptials is for him to divulge his love for this young woman he has been friends with his entire life, but that revelation will also bring him further away from his dream of being on the water.
Pagnol’s story is based on his play, and the characters of Marius, Fanny and César continue in two sequels (appropriately named Fanny and César). For this first venture, the actors are unanimously excellent in delivering comedic one-liners, thoughtful recitations about love and believable anxiety over the wonders of the human heart.
Demazi’s character is a strong woman who is feeling the pressures of society. She follows her mother’s wishes and looks for a man who will make her happy in life. Marius is definitely the person she loves, but Panissee has a sizable fortune. They’re both nice to her, but her eyes are set on Marius.
Fresnay plays a character who lives in the shadows of his father. He keeps up a public face at the family bar, but deep down he doesn’t feel fulfilled in Marseille. He struggles with his passions in life. If he chases the sailing dream too much, he may lose Fanny forever. Added to that consideration is his doting father. Marius’s mother is deceased, and César has played both father and mother to his son. Leaving Marseille will break Fanny and César’s heart.
The action plays out on the waterfront of Marseille and in César’s bar. The images are crisp, the acting never over the top and the plot interesting from beginning to end. It’s a wonder how this film holds up so well, especially given its 1931 release. This was the time period in cinema when film was transitioning from the silent era to the advent of sound, and yet Marius feels fresh and bubbling with realistic emotion. This film is eons ahead of its time period, and the audience is made better by Janus Films’ recent restoration, which recently played New York City’s Film Forum.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Marius (1931) was directed by Alexander Korda and written by Marcel Pagnol, based on his play. The movie stars Raimu, Orane Demazis, Pierre Fresnay and Fernand Charpin. Running time: 127 minutes Rating: 
