Notes on GRIBICHE

[Harold Aherne]

While I hadn't intended to watch the whole picture on TCM last night (having just bought the DVD set), it is a testament to the gifts of Jacques Feyder and the actors that I was drawn into the tale of young Monsieur Gribiche and had to stay until the conclusion. The plot elements are not new--the theme of a child finding wealthy, structured environments stifling can also be found in literary and film versions of The Poor Little Rich Girl and Heidi while adults who try to confine joy to the limits of scientific/hygienic pursuits can also be found in Hard Times by Dickens. But the interactions between the different characters, and between the characters and their surroundings, make Gribiche well worth several viewings to understand all the different layers present in the film.

There are no villains in Gribiche; Mme. Maranet, in spite of her misguided ideas about what is best for children, is not made out to be a hateful shrew. When a subtitle informs us how disappointed she is that Gribiche failed to show her any gratitude for the time he did spend with her, we believe it. She is able to make peace with her mistakes and perhaps end up a little wiser the next time she drops her purse and a polite, humble child returns it to her.

The sets used for Edith Maranet's mansion are beautifully designed--so much so, perhaps, as to seem inhospitable. The vastness of Gribiche's bedroom and the formality of the table settings during his meals with Mme. Maranet accentuate the emotional distance between the boy and his new surroundings. We can understand why he resents being shown off to her friends as though he were her newest objet d'art.

The film moves very easily between comedy and drama. It takes a lot to make me laugh out loud, but the first scene of Gribiche in his horn-rimmed, Lloyd-like glasses did so. The scene where he discovers his literature professor's off-colour photos was also a delight (and proves that 13-year-old-ish boys in 1926 weren't much different than those of later days...).

The entire cast was wonderful, especially Cécile Guyon as his mother and Armand Dufour as his chauffeur pal. I'm actually surprised he didn't bond with the other servants more, given their probably-similar backgrounds, but I guess it's equally likely that they considered him a pain who created additional work for them.

Mont Alto's score was truly excellent, one of the best of theirs that I've ever heard.

-HA

[missdupont]

And did you notice what photos of silent film performers he had on the wall of his original room? Chaplin, Valentino, and Jackie Coogan.

[Brooksie]

And did you notice what photos of silent film performers he had on the wall of his original room? Chaplin, Valentino, and Jackie Coogan.

I also noticed the pattern on his bedroom curtains had a bit of a film connection - if you looked very closely, it was a Western theme, with cowboys and Indians chasing buffalo.

I liked the film a lot, it was a sweet performance from the kid, and the French Art Deco sets and costuming were gorgeous. A very nice restoration - congratulations to all involved.

[Gaucho]

Thanks for your thoughts on the film Harold.
I've been absolutely loving the Albatros set - particularly Les Nouveaux Messieur.
I see that the House of Mystery is due for release later this year, I hope there are more on the way.
Personally, I've been wanting to see Lion des Mogols for years now even though the film itself wasn't well reviewed.