Eliana e gli uomini

Silly concoction is a minor work for all involved. Ingrid, in her last foreign film before her Rossolini fueled exile from Hollywood ended with her triumphant return in Anastastia, is charming and her dresses are incredibly beautiful. But the settings have a sense of falseness to them, even wealthy people's homes look like someone lives there, these are obvious sets. Even the outdoor scenes have a claustrophobic feeling of being stage-bound. Renoir doesn't seem comfortable with the material or perhaps he didn't believe in it, either way it's missing a light touch that would have turned the film into a charming soufflé instead of the flat farce that it is. Mildly amusing but almost completely forgettable.

A Jean Renoir vaudeville stars Ingrid Bergman as a Polish princess-cum-widow Elena Sokorowska in pre WWI Paris, merrily philandering with her suitors, until they are pinned down between two, the radical party general François Rollan (Marais) who is a candidate for the prime minister of the country and a romantic count Henri de Chevincourt (Ferrer).

My second Renoir's film after THE RULES OF THE GAME (1939, 8/10), ELENA AND HER MEN is on a splendid parade of polychromatism with exquisite costumes and interior decoration, whereas the movie is indulged in its own flamboyance and fecklessness, not even Juliette Gréco's superb rendition could ease the despondent frown.

Maybe it was Renoir's intention to make a film pandering for French audience and foreign Gallo- savants at its time, but the story is utterly uninvolving, all the rapid talking side characters pop up and romp around inordinately, which causes great trouble to comprehend what is going on on the screen, soon or later, all of them will inexplicably lapses into ridiculous buffoons, and more unsatisfying is that there is never enough room for viewers to savor the farce.

Bergman has a gregarious presence in this light-hearted rom-com, a skip-deep socialite can equally excel in conquering any man she wants and appeasing any man she deserts, with her charm daisy. Two besotted gentlemen, either the aristocratic and uptight Marias or the more characterless Ferrer, fail to make strong impact other than a convenient pawn to be blindly swept off his feet by Elena ever since the first glance.

Supporting roles galore, Jean Richard is Rollan's guard Hector, fights for the love of Lolotte (Noël), Elena's young maid, with Eugéne (Jouanneau), Elena's soon-to-be son-in-law, and truly, Elena is going to remarry with shoe businessman Mr. Martin-Michaud (Bertin), and their will be a double wedding with Eugéne marries his fiancée Denise (Nadal), things are all mismanaged under a political turbulence which one might find it difficult to decipher with its fast pace. Not to mention Rollan's quartet political corp, things could not be more messier.

Renoir certainly is still good at his trick with various characters bungle together within a carefully measured frame, but it doesn't change much for the haphazard love-triangle, in the end, one can only wish it could end as soon as possible, since our rationality determines that it doesn't worth all the effort.

Jean Renoir once told he wanted to make this movie to see Ingrid Bergman smile to the camera. This is the strength and the limit of Elena et les hommes. Ingrid Bergman smiles, living buoyantly in this colorful political farce. She and every other character involved goes nowhere. Hence the movie can be seen as a light series of social shafts of wit, something Renoir has always been good at showcasing. He delivers this, his nephew delivers a really nice cinematography but on the whole it looks artificial and vain.

Not a great movie so, but it's always a pleasure to see Bergman smile.

Being both a fan of Renoir and Ingrid, imagine my surprise that they happened to collaborate on "Elena and Her Men!" Having yet to be disappointed by Renoir (Rules of the Game being one of the top five 20th century French films), I knew from the description that it wouldn't quite reach those heights but it should still be fun.

Having watched it through, I have to say that the comparisons made to Rules of the Game happen quite enough in Elena that would make the latter seem trite. Even so, and despite the annoying presence of Mel Ferrer (was he dubbed?) and the sub-plots with Eugene-Denise-Lisotte, I have to say that Ingrid Bergman more than makes up for it, with Renoir showing her in all her luminosity in the beautiful dresses (and she certainly out-acts everyone else). The film itself is a little muddled, the previously mentioned sub-plots and other elements like the gypsy woman not quite fitting together (and the ending seems quite cheesy for Renoir, at least for me). All in all watch it if you are a Bergman fan.

I have only seen this silly film once on television, somewhere around 1979 or so. It was, naturally, with English dubbing, not sub-titles. In the years since, I have confused it's title with another silly film, PARIS WHEN IT SIZZLES (there seems a curse on films beginning with "PARIS", all of which are silly or expensive failures - add to these two PARIS HOLIDAY, TO PARIS WITH LOVE, and IS PARIS BURNING?). This one, though, does have a few things going for it - it was directed by Jean Renoir, it stars Jean Marais and Ingrid Bergman, and it deals (albeit in a farcical manner) with one of the great "ifs" of modern French history: what would have happened in 1889 to France (and Europe) had General Georges Boulanger (the man on horseback of the day) seized the moment and completed a planned coup - d'etat of the Third Republic. For that is precisely what the underpinnings of this comedy is about. Boulanger's name is changed to General Roland, but it is the same story.

In the English version, Roland's adjutant (Mel Ferrer) is telling the story - and giving a sardonic account of how the naive patriot is primed to seize the country by a band of cartoon conspirators who use the General's fascination with a Polish countess (Bergman) as a lure. Renoir tries to get as much milage as he can out of the political shenanigans, and the fin-de-siec Paris setting, as he can. Both Marais and Bergman try hard to make what they can out of the frou-frou atmosphere of the film. But although both are good (so is Ferrer and Juliet Greco as a gypsy who loves the General)the screenplay is weak. The motivation of Bergman is highly self-centered (she is attracted to the idea of being the beloved muse to great men, and then leaving them when she feels they no longer need them). It might be good for a minor character, but it is hard for an audience to sustain interest in such a flighty idiot.

It would have been better if they had stuck closer to the historical reality (and ultimate tragedy) of Boulanger's hour of historical importance. France was recovering from the humiliation of defeat in 1870, but the Third Republic was born with grave weaknesses: it signed the treaty of peace ceding Alsace-Lorraine to Germany, it had okayed the extermination of the Communards in Paris in 1871, and it lacked the legitimacy of French government. But its opponents were weak too - the defeat in 1870 was due to the Bonapartiste regime of Napoleon III. He had fled (and was dead in 1873). His son, the Prince Imperiale, died fighting for the British in the Zulu War in 1879. Most of the French, had they a choice of the Third Republic or Second Empire would have chosen the Second Empire, but without Napoleon III or his son they were not too interested in restoring the Bourbons or the house of Orleans. These two families had (by 1877) seemed prepared to compromise their rival feelings, and accept the restoration of the monarchy. The Bourbon pretender, the Comte de Paris, was childless, and would be restored, leaving his cousin, the Duc de Orleans as heir. The first President of the Third Republic, Marshal MacMahon, was ready to order the army to assist the Comte ascend the throne. But the Comte refused the deal unless the national flag reverted from the Revolutionary tri-color to the old Fleur-de-lys of the pre-1789 Bourbons. This was not acceptable. The Comte died in 1883. By then MacMahon had been eased into resigning the Presidency, and the Third Republic continued stumbling on and on.

One of the few generals who had not been damaged by the disasters of the Franco-Prussian War was Georges Boulanger. He was an above average commander, and he actually did do some innovation. By 1887 he was attracting attention, and was elected to the Chambre of Deputies, and became Minister of War. At some point, he began to be approached by the Royalists in France. He had the choice of the Orleanists or the Bonapartistes. He remained vague about his view on whom he'd support, but this may have been his way of guaranteeing that he would be supported by both groups (with Boulanger it is hard to know if he was a brilliant opportunist or just a lucky fool for awhile). He catered to the Paris and French desire for revenge by speaking out against German acts of aggression or of spying - talking about the future war to regain the lost provinces. Initially he had the support of the Republicans, but this was slowly lost as their suspicions of the man grew. Clemenceau, sick of his one-time friend's antics, confronted him on one occasion with a bitter reminder: "General, at your age Napoleon I was dead!"

Despite being thrown out of his cabinet rank, and his seat in the Chambre (he got reelected soon after from another district) Boulanger went on. Then, in September 1889 events climaxed with a series of pro-Boulanger desplays by the army and various supporters. It looked like the General was going to lead the troops onto the Chambre of Deputies or the Elysee Palace and seize control. The moment arrived....and passed. Nothing happened. The leaders of the Republic regained their nerve, and ordered his arrest. He fled, with his mistress. In fact, rumour had it that he wasted the critical hours having sex with the mistress [a rumour that has never been totally dismissed]. He spent the remaining two years of his life in exile in Belgium. His mistress died there, and in 1891 Boulanger committed suicide on her grave. Clemenceau, upon hearing the news, summarized the tragedy appropriately (if cruelly): "The General lived as he died, as a subaltern" [The lowest rank in the French army - and one where the young officers have cheap prostitutes for lovers.]

In the English version of the film, Ferrer is gentler, suggesting that had Boulanger/Roland done what he was expected to do his biographical standing would be as large as Napoleon I's. Probably true. The film does show Roland leaving with his gypsy lover, not going into the sad death that awaited them soon after. To a viewer in the know it is a bittersweet ending. But a better version of the story remains to be done - and to try to come to grips with the General who held France, briefly perhaps, in his hands, and then dropped everything in so inexplicably a manner.