Le Petit monde de Don Camillo (1952) - film review

The peace and tranquillity of a rural Italian village is disrupted by the on-going hostility between a Catholic parish priest, Don Camillo, and the newly elected Communist Mayor, Peppone.  Their very public wrangles reflect the schism between the two halves of the community, half supporting the communist party, the others standing for traditional right-wing values, personified by the retired school mistress Madame Cristina and Don Camillo himself.  With Camillo and Peppone arguing over building a new Communist headquarters and farmers going on strike over a tax dispute, it looks as if nothing will heal the rift...

With Le Petit Monde de Don Camillo, the great French comic actor Fernandel assumed his most popular role, that of the charming parish priest Don Camillo, a character with a sardonic sense of humour and a decidedly mischievous streak.  This was the first in a series of five films in which Fernandel played the part of Camillo, proof, in his own words, that he was the greatest actor in the world: who else would get to play opposite God himself?

The five Camillo films were based on the immensely popular novels of Giovanni Guareschi, with the author collaborating on the scripts to ensure a sense of authenticity.  They offer an enchanting view of provincial life soon after World War II, with picturesque locations populated by believable characters.

Whilst this is not Julien Duvivier’s best film, it is certainly among his most entertaining.  The film has some memorable comic situations (such as the gratuitous punch-up masquerading as a football match) and some scintillating one liners ("My hands are made to bless, but my feet...?")

The film’s greatest asset is, not surprisingly, its star.  Compared with the excessive burlesque performances of earlier years, the Fernandel of Don Camillo fame is a much more self-assured and subtle comedian, capable of delivering the familiar Fernandel quip with irresistible hilarity.  His performance in this film is as warm and poignant as it is funny, testimony of a unique acting talent.

© James Travers 2001

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