It was very good – though very different than the book. The plot was significantly trimmed down – most of the murders were gone (only the two key homicides were left). The big set pieces were cut too, for time and also, probably for budget – the special effects cost for train wrecks and blizzards has to be enormous.
What is left is a more personal story, one of the first examples of film noir – with a femme fatale (Simone Simon – who I recognized from Cat People, filmed a few years later). A love triangle, murder, and Zola’s inherited madness make for a lively time.
Renoir’s genius is in his ability to make his characters come alive on screen. He also shows a wonderful respect for the working class folks that populate the story. Even at their worst – his characters have their reasons, they are driven by the sins of the past.
It did still have the trains, though. The plot moves along like a hot steam engine on a track. A lot of the film was done on location instead of in studio – which added a gritty realism to the story. The Criterion Channel had an interview with Peter Bogdanovich who said that the original impetus for the film was that the star, Jean Gabin, wanted to make a movie where he got to drive a train.
L’Œuvre (1886) (The Masterpiece/A Masterpiece/His Masterpiece)
La Bête Humaine (1890) (The Beast in the Man/The Human Beast/The Monomaniac)
La Terre (1887) (The Earth/The Soil)
La Débâcle (1892) (The Downfall/The Smash-up/The Debacle)
Le Docteur Pascal (1893) (Doctor Pascal)
Looking at this list, I realize I read L’Œuvre (1886) (The Masterpiece) this summer and never wrote a blog entry about it. Sorry. It was good, not the best of the series, but an interesting take on the artistic life and the madness behind it. I’ll write it up in the next few days, once I think about it and take a look at the text again.
I had read a paperback copy of La Bête humaine years and years ago – but I remembered very little about it other than it had trains and murders.
WOW. This is one hell of a book. One surprising thing about the 20 books in the Rougon-Marquart universe is how wildly diverse they are. They range from frilly romance to gritty poverty to hopeless alcoholism to rampant greed. And now, we have this.
La Bête humaine is a book of murder(s). By the end of the story pretty much every major character is a killer, a victim, or both. All these murders sans one stem from the same cause – jealous rage. The one other example is a chilling description of a compulsive killer, consumed by powerful, mysterious violent urges of madness, insanity, and desire. The wheels of justice don’t help much – they turn slowly, then grind to a stop. The only innocent character is eventually blamed and convicted.
It is a novel of the railroad. Specifically, the nineteenth century steam engines that ran between Paris and the coast at Le Havre. Zola’s prodigious powers of description are used to paint portraits of the stations, the line, and especially the powerful engine “La Lison” which becomes practically a living character imbued with almost sexual powers.
Finally, it is a novel of arresting and amazing set pieces. The entire chapter where a wagon containing two huge hunks of rock is pushed into the path of “La Lison” is one of the most sensational and electrifying chunks of text I have ever read. There are horrifying killings, terrifying betrayals, and moments of sexual tension surprising for a classic novel. The final scene, especially, is chilling and horrific, even though it ends before the inevitable apocalypse.
There are free public domain versions of the novel available (from Project Gutenberg and other places) but I am glad I bought the excellent Roger Pearson translation from Oxford World Classics. It is written in a modern style, which fits this story very well.
So this was an enjoyable, if horrific, read. And now, on to Germinal, arguably the best in the series. I’ve already bought a good translation and am ready to go. However, I will wait until the end of January, have to finish The Brothers Karamazov first.