La Princesse de Clèves
1961 History / Drama / Romance   
 

Credits
  • Director: Jean Delannoy
  • Script: Jean Cocteau, Jean Delannoy, based on a novel by Madame de La Fayette
  • Photo: Henri Alekan
  • Music: Georges Auric
  • Cast: Raymond Gérôme (Le Roi), Lea Padovani (La Reine Catherine de Médicis), Annie Ducaux (Diane de Poitiers), Alain Ferral (Le Dauphin François), Renée-Marie Potet (La Dauphine Marie-Stuart), Jean Marais (Le Prince de Clèves), Marina Vlady (La Princesse de Clèves), Jean-François Poron (Le Duc de Nemours), Henri Piégay (Le Vidame de Chartres), Piéral (Le Bouffon), Ivan Dominique (Le Chevalier de Guise), Léa Gray (Madame de Mercoeur), Jacques Hilling (Le Médecin), Hubert de Lapparent (Ambroise Paré)
  • Country: France
  • Language: French
  • Runtime: 101 min
  • Aka: Princess of Cleves

 
Summary
France, 1559.  King Henri II gives a state ball in honour of the marriage of the young Lady of Chartres to the Prince of Cleves.  At the ball, the young princess dances with the handsome Duke of Nemours and the two are instantly attracted to one another.   Realising that he is in love, the Duke of Nemour subsequently tries to court the princess, but in vain.  Although the Princess of Cleves loves the Duke as much as he loves her, she remains implacably loyal to her husband...

Review
Princesse de Clèves is a lavish period production based on the 17th century historical novel by Madame de La Fayette.  Set at the court of the ill-fated Henri II, the story concerns mainly an impossible romance between a young duke and a young Princess, although it also brings in wider court intrigue involving other historical figures such as Catherine de Medici.   The script was written by Jean Delannoy and Jean Cocteau, who previously collaborated on the 1943 film L’Eternel retour.  Another connection between these two films is the actor Jean Marais, who starred in both films.

Despite its impressive visual feel, Princesse de Clèves is a film which has some difficulty engaging with its audience.  The grandeur of the film’s production values (extravagant sets and costumes)  appears to dilute those less tangible elements which are needed for the film to move its spectator – such as a sense of intimacy and passion.  Whilst the dialogue is beautifully poetic in places, it is not sufficient to convey the impression of an all-consuming love and there is a sense that, in the hands of a younger director, with a stronger cast, this could have been a much more powerful film.  Despite these qualms, the film has much to commend it.  It is competently directed by one of the masters of French cinema, offers a convincing portrayal of the era in which it is set, and features the magnificent Jean Marais in one of his most poignant film roles.

© James Travers 2002



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