Film Review
On its first release in 1951,
Le Petit monde de Don
Camillo was the most successful French-produced film to be released
in France. With spectactors numbering just over 12.7 million, it boasted
the largest audience ever achieved in France, a record it held right up until
1966, when it was overtaken by the Bourvil-de Funès smash-hit
La Grande vadrouille.
The film's French and Italian producers would have been insane not to have
attempted a follow-up, once again adapting a novel in the popular series
of
Don Camillo novels by renowned Italian author Giovannino Guareschi.
Le Retour de Don Camillo may not have achieved the jaw-dropping success
of its predecessor, but with its French audience of 7.4 million, it was easily
the biggest French box office hit of the year, comfortably ahead of its nearest
rival, Clouzot's fiendish suspense thriller
Le Salaire de la peur.
Iconic comic performer Fernandel, by now the most bankable star in French
cinema, was easily persuaded to reprise the role with which he is now most
readily identified, that of the well-meaning but oftentimes pugnacious parish
priest Don Camillo. Once again he is well-matched by his Italian opposite
Gino Cervi, positively revelling in the role of the scheming Communist mayor
Peppone (whose passing resemblance to a certain Soviet autocrat of the time
was presumably accidental). It is the clash-of-the-egos on-screen rapport
between these cinematic legends that makes the film so effortlessly entertaining,
making up for the less than inspired writing and direction, which both lack
some of the flair and spontaneity to be found in he first Don Camillo outing.
Some attractive location photography (which makes good use of the stunning
Brescello countryside) adds much to the raw visual appeal and poetry of the
film.
His popularity (and presumably bank balance) buoyed up by the success of
the two
Don Camillo films, director Julien Duvivier was able to turn
his intention to more worthy (i.e. less flagrantly commercial) subjects in
the mid-50s, achieving some measure of acclaim and notoriety with
Marianne de ma jeunesse
(1955) and
Voici le temps
des assassins (1956), before the arrival of the Nouvelle Vague consigned
him to the cinematic backwaters. The task of helming the next two
Don
Camillo films -
La
Grande Bagarre de don Camillo (1955) and
Don Camillo Monseigneur
(1961) - fell to the incredibly prolific Italian director Carmine Gallone,
with Fernandel more than willing to reprise his best-loved role.
© James Travers 2003
The above content is owned by filmsdefrance.com and must not be copied.
Next Julien Duvivier film:
L'Affaire Maurizius (1954)
Film Synopsis
When he hears about Don Camillio's on-going battles with the communist mayor Peppone,
the bishop decides to exile the Catholic priest to a small mountain parish.
With his arch-enemy out of the way, Peppone's life is far more peaceful - at least at
first. When he fails to persuade a rich landowner to allow a dam to be built on
his land to stop an impending flood, the mayor realises he needs Don Camillo's help.
The situation becomes even more desperate when the parishioners fall out with Don Camillio's
replacement, Don Pietro, refusing to die, marry or be born. Peppone has no choice
but to hasten Don Camillo's return. But how can he stop the priest from turning
his return into a victory celebration?
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.