- ► 2017 (106)
- Abbas Kiarostami | Shirin
- Jacques Feyder | La Kermesse héroïque (A Carnival ...
- Jean Renoir | Boudu sauvé des eaux (Boudu Saved fr...
- Kenneth Lonergan | Manchester by the Sea
- Ernst Lubitsch | The Smiling Lieutenant
- Jean-Luc Godard | Tous les garçons s'appellent Pat...
- Nikolaj Arcel | En kongelig affære (A Royal Affair...
- Carol Reed | A Kid for Two Farthings
- Kim Ki-young | 하녀 Hanyeo (The Housemaid)
- Pier Paolo Pasolini | Mamma Roma
- Yasujirō Ozu | 風の中の牝鶏 Kaze no naka no mendori (A H...
- Damien Chazelle | La La Land
- Zhang Yimou | 大紅燈籠高高掛 (Dà Hóng Dēnglong Gāogāo Guà...
- Jean Renoir | Partie de campagne (A Day in the Cou...
- Pierre Étaix | Yo Yo
- François Truffaut | La Nuit américaine (Day for Ni...
- Paddy Breathnach | Viva
- Yasujirō Ozu | 一人息子 (Hitori musuko) (The Only Son)...
- Richard Fleischer | Compulsion
- François Truffaut | L’Enfant sauvage (The Wild Chi...
- Stanley Kubrick | 2001: A Space Odyssey
- Krzysztof Kieślowski | Trois couleurs : Rouge (Th...
- ▼ December (22)
- ► 2015 (127)
- ► 2014 (118)
- ► 2013 (124)
- ► 2012 (147)
- ► 2011 (134)
Friday, December 30, 2016
Jacques Feyder | La Kermesse héroïque (A Carnival in Flanders)
getting it all by giving in
by Douglas Messerli
Jacques Feyder, Robert A. Stemmle, and Bernard Zimmer (screenplay, based on a story by Charles Spaak), Jacques Feyder (director) La Kermesse héroïque (A Carnival in Flanders) / 1935
It may be hard to imagine a proto-feminist film, directed by a man, coming out of France in 1935, but that’s very much what Jacques Feyder’s Carnival in Flanders is.
In the midst of these events, two emissaries of King Phillip II, suddenly charge into town announcing, via a letter, that the next day The Duke d’Olivarès (Jean Murat) will be camping there for the night with his soldiers. Recalling the Spanish pillage and rape of citizens in Antwerp, the town leaders are horrified, and determine to hide out during the visit, the Burgomaster himself determining to play dead.
Perceiving that the men of Boom will do nothing to protect them, the women, headed by the Burgomaster’s wife, declare their own war, wherein they plan to readily woo the rowdy visitors with wine, food, and sex.
But watching it yesterday, I truly enjoyed its lusty implications, and applauded the women of Boom for their abilities to save their otherwise exemplary lives by simply using the ploys of their gender. Moreover, in its reliance on the tradition of Dutch painting, this gentle comedy tells us more about life in 17th century Flanders than reading many an historical tract. Surely it was a patriarchal, bourgeois society, but in Feyder’s joyful rendition it was allowed to enjoy itself if only for a night.
Los Angeles, December 30, 2016