Le Capitaine Fracasse (1961)

Since Théophile Gautier’s novel was first published in 1863, Le Capitaine Fracasse has enjoyed widespread popularity, particularly in France, in much the same vein as Dumas’ The Three Musketeers.  Although less well known than Dumas’ historical tale, Le Capitaine Fracasse is an appropriate story for the cinema and has enjoyed three successful film adaptations too date.  The second film adaptation is probably the most well known and is a lavish production featuring the legendary actor Jean Marais in the role of Fracasse.

This version of the film has just the right balance of action, drama, humour and romance.  Unusually for a period drama of this kind, all the principal characters – and even some of the minor characters – are very well rounded and believable individuals.  Although the plot is a little simple and predictable, the film itself is magnificently crafted, showing a great eye for detail on the part of the director and set designer.  Beautifully filmed, the film appears to date from a later period, having the production values of a lavish late 1960s period drama.

Jean Marais clearly revels in the role of the solitary baron who becomes a swashbuckling hero.  Not only does he show himself to be a great actor, with an astonishing dramatic range, but he also appears pretty formidable as a sword fighter.  He is joined by two other great luminaries of French cinema, Philippe Noiret and Louis de Funès, who are both equally impressive (although de Funès only has a very minor role in this film).

Probably the most endearing thing about this film is its slightly self-deprecating sense of humour.  Although the duels and romances are treated with deadly seriousness, the film still manages to find time to relax and laugh at itself.  Two prime examples of this are the actor’s funeral near the start of the film and the lovers’ parody enacted by Noiret and de Funès at the end.  This kind of self-indulgence can be a little risky, but it succeeds in this film because the film itself is so consciously magnificent yet so disarmingly unpretentious.

© James Travers 2000

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