FANNY is a fairly wonderful life-slice, lovingly brought to the big screen by producer-director Joshua Logan. He adapted from a musical play he’d co-authored, itself taken from a trilogy of stories by Marcel Pagnol, first filmed in France in the Thirties. Logan dropped the songs here, letting the story’s humor, warmth and drama speak their own grace notes. Julius J. Epstein did the screenplay for Logan, and blended in elements from all versions.
‘Fanny’ (Leslie Caron) is the daughter of a fish peddler on the Marseilles waterfront. Two men love her. One is ‘Marius’ (Horst Buchholz), a nineteen year old she’s grown up with, who works in a small bar owned by his father ‘Cesar’ (Charles Boyer), while yearning for life as a sailor. The other is ‘Panisse’ (Maurice Chevalier) a prosperous shop owner, who happens to be the lifelong crony of the boy’s father. One offers passion, the other security; the choices they all make are at the heart of the tale.
Under the expert eye of Jack Cardiff, expansive location photography in Marseilles soaks in enough color and atmosphere that you’ll feel like a resident, and Harold Rome’s music score offers wistful backing.
Four fine performances ice the cake. Leslie Caron, 29, is at her loveliest and most expressive as the conflicted heroine. Chevalier, 71, as the elder suitor and Boyer, 60, as the best friend, bore esteemed resumes and while both would appear in movies after this, their hearty distillations of affection and charm here serve as an admirable capper to dual careers. Their scenes together (they were old friends off-screen) are a richly comic joy, and they’re each allowed serious moments touching in their honesty.
Buchholz, 27, made his niche on intense characterizations: the myriad emotions playing across his sharp features will strike chords with those who’ve ever felt trapped by fate and beckoned by the horizon.
Attending the leads are Baccaloni, Raymond Bussierres, Georgette Anys and Victor Francen. Lionel Jeffries pops in for good measure.
One small critique is the length, which could have sufficed with 105 or even 120 minutes. At 134 it puffs a bit, as though Logan didn’t want to let his characters go. You’ll likely enjoy them so much you won’t begrudge the padding.
The 1961 charmer was a financial success, grossing $12,100,000. Oscar nominations came for Best Picture, Actor (Boyer), Cinematography, Music Score and Film Editing. Fanny has a big heart, and happily enough wit and wisdom guiding it that the sentiment isn’t cloying, but glowing, a vibrant celebration of life, friendship and love. *
* Caron, in her memoir “Thank Heaven”—“Josh Logan was a giant in size and in spirit. He had such grand visions and emotions that I called him ‘Jupiter’….the flirtation scene between Maurice Chevalier and myself stands in my memory as one of the most enjoyable of my career…Horst Bucholz was the most delightful accomplice, tender and sensitive, with a romantic flow that made love scenes easy and memorable. FANNY is probably the most romantic part I was given to play; I allowed myself to reveal emotions that enriched me—that role was such a treat.”
