Pattes blanches (1949) - film review

Odette, an attractive young woman, arrives in the fishing town of Saint-Brieuc in Brittany and becomes the mistress of Jock, the owner of the local inn.  Jealous of this new intrusion,  Jock’s waitress Mimi starts to visit a bankrupt aristocrat, Julien, who lives the life of a hermit in his old family castle.  To tease Mimi, Odette flirts with Julien (known to the locals as White Paws because of his white gaiters), but Julien falls in love with Odette.  When he learns this news, Julien’s embittered half-brother Maurice sees an opportunity to have his revenge against the family that disowned him.  On the night of Odette’s marriage to Jock, Maurice contrives to get Odette and Julien together – with tragic consequences...

Jean Grémillon’s adaptation of Jean Anouilh’s stage play gives the director another opportunity to combine the themes of tragic romance and anti-Bourgeois sentiment which predominate in his work.  Whilst Pattes blanches is an engaging piece of cinema, it lacks the impact and directness of Grémillon’s earlier achievements and was not a great commercial success.  The main reason for this partial failure was probably the fact that Grémillon was called in at the very last moment to direct the film when Anouilh realised he was not up to the job himself.

Although strong on atmosphere and characterisation, the film is weakened by its lack of focus and awkward melange of styles.  The exterior location scenes have a coldly neo-realist style whereas the interiors have an old Gothic feel that is more in keeping with the romantic theme.  Whilst the performances are beyond criticism, the characters appear under-developed, with the result that the story lacks dramatic impetus.  Suzy Delair is at the height of her powers as a typically Gallic femme fatale, whilst Michel Bouquet (in one of his earliest film appearances) conveys pure spite and cynicism in his striking portrayal of the outsider, Maurice.

The film offers a number of memorable set pieces which show Grémillon at his creative best.   There is first and foremost the harrowing night scene where Odette attempts vainly to return to her husband on their wedding night (the bleakness of the location contrasting vividly with the gaiety of the music being hammered out at the party).  Then there is the sombre scene near the end of the film where the crippled Mimi returns to Julien and, for a brief moment or two, lives the fairy tale for which has yearned.

© James Travers 2002

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