Sick Product of a Sick System

Masterful Movie

It's Difficult NOT To Enjoy This Movie

Blistering performances.

Director Fritz Lang draws us in immediately with a beautiful opening credit sequence which segues to a boisterous Charles Boyer in the role of Liliom, a carousel barker at a carnival. Liliom flirts with the ladies and plays to the crowd, and we find ourselves charmed. It wears off as he begins putting the moves on a beguiled young woman (Madeleine Ozeray), because it turns out he's quite a rake. He begins living off her and abusing her besides, in one scene slapping her, and in others alluding to beating her. I won't say more about the plot, except to say it takes a very interesting turn when he reluctantly agrees to commit a crime with his low-life buddy (Pierre Alcover). Lang is very creative in this film, keeping us offbase as to where the film is going and capturing nice shots with reflections and shadows. At one point Boyer is mired in bureaucracy waiting for a form to be stamped, which is a comical moment. I had the film scored a little higher, but it dropped a little for me in just how light it got as it played out. The film was set up for much more interesting moments, and it seemed like a blown opportunity when it got silly. I was also not a fan of one of the film's messages, that out of love in a relationship "someone can beat you, and beat you, without hurting you at all." Watch this one for the unique role Boyer plays (apparently one of the actor's favorites), and to see Fritz Lang's only French film, made shortly after he left Germany.

Liliom Zadowski (Charles Boyer) is a charismatic ne'er-do-well working as a carousel barker at a small carnival when he seduces naïve young Julie (Madeleine Ozeray). Fired by his jealous boss (Florelle), he ends up loafing around the house and hanging out with his disreputable friends while Julie works. The seemingly one-sided relationship suffers until Julie (with great delicacy) tells him that she's pregnant. Exited by the prospect of fatherhood but desperate for money, Liliom partners with his scurrilous buddy Alfred (Pierre Alcover) to steal a payroll. The heist goes bad and Liliom ends up in heaven, where he is forced to face the truth about his behaviour towards Julie but is then given one day back on Earth to make amends. The film is a bit stagey (not surprising considering its source, a play by Ferenc Molnár) and leisurely paced (especially the first half), but the imaginative and surreal scenes in heaven are worth the wait. Apparently church dignitaries were not too pleased with the whimsical portrayal of God's dominion (complete with inept celestial bureaucrats sporting tiny wings and a big door leading to flaming purgatory). Boyer is excellent in the role (although his character is not very likable, especially by modern standards), which is good because he is the center of most scenes. Although not a success for director Fritz Lang, Liliom is an entertaining (albeit a bit talky and dated) early entry in the 'back from heaven' genre that is quite 'European' and more 'adult' than would have been allowed in post-Code Hollywood. In addition to this and other film versions, the Molnár's play is the basis of the famous Rodgers and Hammerstein musical "Carousel".

Saw this picture was playing at the Film Forum so I said, what the heck, why not? At least I can compare it to "Carousel". And so, I was not prepared for it and was pleasantly surprised. It is a minimalist (to use current artsy language) version with spare sets and shot entirely on a sound stage, and featuring Charles Boyer as Liliom as I had never seen him before. It was a great performance from Boyer, almost unrecognizable from the oily gigolo types he played in Hollywood. Boisterous and exuberant, he brings his character to life, and now I can't imagine anyone else playing this role.Apart from no musical score, this picture differs from "Carousel" as Liliom enters his afterlife. In "Carousel", the sequence in heaven was almost an afterthought, but here Lang infuses it with some touches that are both surreal and extremely imaginative, and without the benefit of digital enhancement. No special effects here. I didn't care for Madeleine Ozeray's interpretation of the Julie character, which came off as naive and withdrawn, almost a form of neurosis. But she, like the rest of the cast, stayed out of Boyer's way. Recommended - see it if you are a fan of actors and acting.

I stumbled across this film on late-night French TV last night, having missed the opening credits, but I was immediately struck by the sophistication of the production. Within a few minutes I was convinced that it had to be a Friz Lang film that I'd never heard of, but it wasn't until I checked IMDb this morning that I was able to confirm that suspicion. I had no idea that the final section of the film, with the trains of the afterlife, was coming, and I was, as the Brits say, gob-smacked. Corny and theatrical, sure, but also strange, beautiful, well-acted, and filmed with an eye that was a generation ahead of its time.