The Life of Emile Zola
Directed by William Dieterle
Written by Norman Reilly Raine, Heinz Herald, Geza Herczeg et al
1937/USA
Warner Bros.
First viewing
#119 of 1001 Films You Must See Before You Die
[box] Émile Zola: What does it matter if an individual is shattered – if only justice is resurrected?[/box]
For some reason I was not wowed by this worthy, well-produced biopic.
The story covers the life of the naturalist French novelist starting with his days as a rebellious youth living in a garret with Paul Cezanne and continuing as he becomes a popular writer. As Zola (Paul Muni) reaches a prosperous and complacent middle-age, he is approached by the wife (Gail Sondergaard) of Alfred Dreyfus, who has been wrongfully convicted of treason. Dreyfus (Joseph Schildkraut) is languishing on Devil’s Island while the General Staff of the French Army engages in cover-up after cover-up to protect their so-called honor. Zola writes the famous “J’accuse” letter to the President of France and is tried for libel of the military. With Louis Calhern as one of the Army conspirators.
Well, there’s nothing exactly wrong with this film but I couldn’t get behind it. I think it must be the screenplay that bothers me. It is heavy on very earnest and impassioned speeches arguing for honor and justice. This is all very well in its place but does not make for complex or interesting viewing. I think the story may have lost much of it’s bite due to Jack Warner’s ban on the use of the word “Jew” in the dialogue so as not to lose the German market. Since antisemitism was a key element of the entire Dreyfus affair, this omission waters down the plot.
For a better biopic with Paul Muni, I would go with The Life of Louis Pasteur.
The Life of Emile Zola was honored at the 1938 Academy Award ceremony with Oscars for Best Picture, Best Supporting Actor (Schildkraut) and Best Writing (Screenplay). It received seven additional nominations including for Best Actor (Muni), Best Director, and Best Art Direction.
Trailer
Well, we are perfectly alligned on this one. It is a good and worthy story, but I find the execution too heavy handed with pathos and indignation stacked up so high it is difficult to see the people behind.
Especially the wife of Dreyfuss I found was terribly over-acting. I later learned that Gail Søndergård was actually Danish and quite a fixture as supporting actress, but that does not make her better here.
and I actually quite a fan of Paul Muni…
I like Paul Muni too. I think my favorite of his is Scarface. Agree on Sondergard in this one. If I’m not mistaken, she was considered for a glamorous Wicked Witch of the West in The Wizard of Oz. I’m so glad Margaret Hamilton got the part!
Absolutely! In hindsight, could it have been anybody but Margaret Hamilton?
Margaret Hamilton is the best and only wicked witch. I’ve seen her in several character roles as I’ve journeyed through the 30’s and she is always good.
I am also in agreement with the above comments. And the most important feature of the entire Dreyfus story is the fact that he was Jewish and persecuted for it in that military scandal……but Warner, himself a Jew, was unwilling to lose the German audience, so that entire aspect of why Zola jumped to Dreyfus’s defense. is lost.
Gail Sondergaard is not at her worst here……see The Letter with Bette Davis, and Herbert Marshall to see her most eccentric performance. Something in my memory banks tells me that she was caught up in the blacklisting of the 40s/50s but I may be wrong.
This is a film to be watched once since Muni, as usual is quite good and I have always liked Joseph Schildkraut who was rather a looker in his younger years…..but it is not a movie for repeat performances….at least not for me.
I was surprised when I read about the actual history of the Dreyfus affair how long it lasted and just how it divided the nation. I don’t expect my film history to be accurate but I do like it to be interesting and a bit nuanced.
Talk about being railroaded!!!!…….Dreyfus was the perfect target for that scandal although I don’t think the film really indicated why he became the scapegoat or maybe I have forgotten.
We both know that film history isn’t history at all…..for example, look at The Charge of the Light Brigade with Errol Flynn leading the valiant 600 into the Valley of Death……..in truth,.it was a total debacle but has gone down on film and, for that matter, in poetry , as something glorious. But true or not it sure makes for good viewing!!!!
There’s a little hint, which you might miss if you blinked, that Dreyfus was targeted because he was a “foreigner” (actually, he was from Alcace which had changed hands repeatedly). At the same time, there is a tiny glimpse at his enrollment in the army with the word “Jew” written. You are right. The history doesn’t so much matter as long as the film tells a good story. Many times the real story is not cinematic at all.
I did miss those little clues but it has been a while since I have seen the film. I’m surprised the word “Jew” even got onto the screen. What a travesty with all that was happening in Germany that Warner could only think of money and not have the guts to tell the real story. Hollywood certainly didn’t have any problem portraying blacks as shuffling half-wits But as you say, sometimes the real story doesn’t translate well to film.