Les Gens du voyage (1938) - film review

Flora, a tough, strong-willed lion-tamer, is the star attraction at the Barlay travelling Circus.   However, even she is ill-prepared when her former lover, Fernand, returns to her after twenty years.  Fernand, a crook who has just escaped from prison, tells Flora that unless she helps him he will tell the world he is the father of her son, Marcel, who also works at the circus as an acrobat.   Using his charms on Mr Barlay, the circus’ owner, Fernand soon finds himself managing the circus.  Meanwhile, Flora’s son Marcel is having a secret affair with Barlay’s daughter, Yvonne.  When they realise that Barlay is against their union, the two lovers plan to elope.  As soon as he discovers what is afoot, Barlay sends his daughter away from the circus without telling Marcel, unaware that she is expecting a baby...

Jacques Feyder’s flair for depicting the lives of ordinary people with humanity and insight is apparent in this captivating portrayal of circus life.  Filmed in Germany, the film was made in parallel with a German-language version entitled "Fahrendes Volk", which had a cast of German actors (although Françoise Rosay starred in both versions).

Les Gens du voyage is probably best remembered for Françoise Rosay’s gutsy performance as the spirited middle-aged lion-tamer, Flora.   With the support of her husband, Jacques Feyder, Rosay became one of the leading actresses of the 1930s, renowned for taking on strong female roles which perfectly suited her austere physical appearance and authoritarian personality.   As Les Gens du voyage shows, Rosay can also reveal a softer side, making her as endearing as she is formidable.  One particular scene which perfectly captures her character’s strength and vulnerability in this film is when she is performing her circus act – she may well have the upper-hand over her cageful of tigers but her fear is still evident.

What is perhaps most striking about Les Gens du voyage is how fresh and modern the film still feels.  This is partly due to its daring mix of cinematic styles, reflecting the rapid evolution of cinema in the late 1930s.   The liberal use of location filming gives the film a neo-realist feel in places; the plot is a mix of melodrama and policier; and elements of early film noir and poetic realism are also noticeable.  Some engaging comic touches provide a pleasing contrast to the films darker moments, without undermining the dramatic content.   What is surprising, and what is surely a sign of its director’s genius, is the way in which Feyder manages to combine all these different styles and themes and delivers a work that is cohesive and satisfying.

© James Travers 2002

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