In the world of French playwright-director-screenwriter Marcel Pagnol, provincial is anything but a bad word. Instead, its the very essence of his art, best known for
the rich, humanist character studies that make up his Fanny trilogy. And thats what actor Daniel Auteuil gets exactly right in his directorial debut, a remake of Pagnols The Well-Diggers Daughter (filmed originally in 1940). It can be described as old-fashioned without being in the least pejorative.
The plot of The
Well-Diggers Daughter
is typical Pagnol. Set in his beloved Provençal countryside before World War II, the movie revolves around Pascal, a middle-aged, widowed well-digger with six daughters ranging in age from 3 to 18. The oldest, Patriciasent off to live with a family in Paris years earlier so she could receive a good upbringing and educationhas returned to look after her younger sisters and father after her mothers death.
One day while taking lunch to her father, Patricia meets Jacques, the handsome, dashing son of the towns well-to-do shopkeeper, M. Mazel. The attraction is immediate and obvious. When Jacques takes Patricia home after her awkward date with her dads work partner, the well-meaning but oafish and middle-aged Felipe (hes perfect husband material, so her father thinks), he sweet-talks her into having sex with himand two completely antithetical families are irrevocably changed.
Patricia discovers that shes pregnant after being stood up by Jacques (shes unaware that he was called away to the war earlier than expected). When she confesses her situation to her father, he responds the only way a commoner knows how: he takes his family to the Mazel household to ask them to recognize Patricias unborn child as their sons. When they refuse (Jacques mother accuses Pascal of blackmail), he washes his hands of his eldest daughterwhom he earlier said he loved as if she was a sonand forces her to live with an aunt and to raise her child away from her shamed family.
Auteuil, who starred in two famous Pagnol adaptations directed by Claude Berri, Jean de Florette and Manon of the Spring, in the mid-1980s, shapes Pagnols material to create a moving, humane drama that in lesser hands might turn into mere soap opera. As director, Auteuil is overly fond of sweeping pans of the admittedly beautiful scenery (exquisitely photographed by Jean-Francois Robin), but since this is a story about particular people in a particular place (its commented more than once that Patricia has a posh Parisian accent, as opposed to the others working-class dialects), the visuals fit snugly, as does Alexandre Desplats orchestral score. Its beguilingly simple beauty, reminiscent of Erik Saties music, and complemented with several period songs to further provide atmosphere
And the characters are all treated equally affectionately. Jacques parents (Jean-Pierre Darroussin and Sabine Azéma, who wonderfully complement each other with his buttoned-down dignity and her high-strung emotionalism) act churlishly toward Pascal and Patricia, though they are never presented as villains. And when they receive official word that their son has been shot down behind German lines and is dead, the Mazels tentatively stop by to visit the young boy who may well be their grandson. The situation turns tense when Pascal becomes enraged by their appearance, believing they may try to take away a grandson he only recently (and grudgingly) accepted as a member of his family.
How these three parents respond to the loss of a child due to war or social disgrace is marvelously dramatized by Auteuil with appropriate understatement, particularly in his own performance as Pascal, who consistently changes his mind about his own feelings about his daughter and new grandson. Although he has a lot of dialogue, its often in the moments when hes not speaking that Pascals true self emerges, and Auteuil displays that with a combination of virility and gracefulness.
Astrid Bergès-Frisbeys Patricia is a sublime blend of teenage naïveté and mature womanliness. This teenager has been forced by circumstances to become an adult not once (after her mothers death) but twice (after becoming a mother herself). Perhaps the films most remarkable shot occurs when Patricia waits for a rendezvous with Jacques and realizes that he is not comingconfirming her suspicion that he, the rich boy, has no real use for her, the poor girland the most touching mix of sadness and hopelessness comes across the young actresss richly expressive face. That brief moment encapsulates the affection both Pagnol and Auteuil have for their provincial characters.
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