‘A Magnificent Life’ Review: A Treat for Marcel Pagnol Fans, Sylvain Chomet’s Animated Biopic Seems Unlikely to Win Over the Uninitiated

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Marcel Pagnol’s films are notable for the actors he chose, with none standing out more than Raimu, a renowned music-hall performer who became a cinematic sensation. Orson Welles even referred to him as “the world’s greatest actor.” Interestingly, similar to how Pagnol’s movies are deeply connected to his novels and plays, the films of “The Triplets of Belleville” director Sylvain Chomet are characterized by the faces he meticulously draws by hand. This artisanal process, reminiscent of the last century, is as much a part of his work as Pagnol’s most cherished novels (“Jean de Florette” and “Manon of the Spring”) and plays (“Marius,” “Fanny,” and “César,” all of which he adapted for the screen).

The blending of artist and author in “A Magnificent Life” seems like it should be a wonderful spectacle, doesn’t it? Regrettably, that’s only partially accurate. Taking inspiration from Pagnol’s comprehensive essay collection, “Confidences,” Chomet pays tribute to the man’s accomplishments – much like a dry textbook or educational graphic novel might – but falls short in conveying why those not already captivated by Pagnol should be interested. At the Cannes Film Festival, this film showcases the same vibrant visual style as Chomet’s previous works, which is undoubtedly its most appealing aspect (Stefano Bollani’s charming score is another of its notable strengths).

As a cinephile, I found the script and voice actors of this movie less compelling, whether in French or English. The director’s unique style shines through the intricately detailed and expressive faces, rather than the dialogue or its delivery. Instead of sparking curiosity about Pagnol’s life and work, encouraging viewers to explore his collection on the Criterion Channel or hit the bookstore shelves, it might inadvertently create a misconception, portraying Pagnol as that peculiar man who transitioned from stage to screen at the dawn of the talkie era in France.

However, Chomet assumes familiarity with its significance (renowned filmmaker Pagnol, a pioneer in cinema, established his own studio and ensured his characters spoke in genuine southern accents). The biographical work “A Magnificent Life”, co-written by Pagnol’s grandson Nicolas, recounts anecdotes from the creator’s pastoral early years in Marseille to the tragic demise of his daughter at a young age. Yet, it fails to clarify what challenges Pagnol faced or the goals he pursued.

According to Pagnol’s own words, “Life for a man is filled with moments of happiness, tinged with deep sadness that cannot be forgotten. There’s no need to explain this truth to the young.” Stripping away Chomet’s unique ability to blend humor and melancholy in ways that surpass even the capabilities of a camera, it becomes challenging to captivate audiences with Pagnol’s theatrical journey – a journey that starts with a failure on the Paris stage (“Fabien”). A short while later, Pagnol receives praise from an editor at Elle magazine, who expresses interest in publishing his memoirs… but only if he can write them.

Faced with a blank page, Marcel Pagnol seems to struggle to remember his youth, until a young boy named “Marcel” unexpectedly shows up in his office. The movie’s title, “Marcel and M. Pagnol,” humorously distinguishes these two individuals. It’s an unusual technique, employing the author’s younger self to draw poignant memories from the deepest corners of his heart, as this boy appears and disappears at significant moments from Pagnol’s past.

It seems likely that the character of young Marcel, who is visible to others, is not merely a manifestation of the author’s unconscious mind. Instead, he appears to be a nuisance for the audience, causing disturbances and taking away focus from a rather simple narrative. This suggests that Chomet may have intentionally included Marcel in an effort to appeal to younger audiences, although it might be challenging for young viewers to find the antics of Marcel or Monsieur Pagnol particularly entertaining.

Regardless, we’re far removed from Chomet’s tribute to the French icon Jacques Tati, “The Illusionist.” While “A Magnificent Life” appears more focused on education than entertainment, its selection of intricate details can sometimes be confusing. A scene from a play featuring two male actors dressed as old ladies making jokes about each other’s sagging breasts caused an inappropriate reaction from schoolchildren at Cannes, suggesting that perhaps children may not be the best-suited audience. Notably, one of these actors is Raimu, whose career on stage was significantly boosted by Pagnol, who made a groundbreaking decision to help him.

Rather than composing plays using formal French, as was customary in prestigious Parisian theaters, Pagnol opted to reflect the vibrant accents of his hometown Marseille. In the English adaptation of the film, adult Pagnol is voiced by popular actor Laurent Lafitte without any regional accent, whereas young Marcel speaks with a southern drawl. To convey this subtlety for English-speaking viewers, we could use dialects or regional accents when portraying the characters that originate from the south.

As a cinephile, I was thrilled when Paramount assigned Bob Kane the task of creating films in multiple languages, including French. In pursuit of this goal, Kane approached Marcel Pagnol about adapting his stage plays for the big screen – an offer that resonated deeply with the playwright. Seeing the potential popularity of cinema and its unique ability to emphasize comedy and drama differently, Pagnol was eager to explore this emerging medium. This innovative approach would ultimately bring audiences even closer to those captivating characters on-screen.

Marcel Pagnol was adamant about having “Marius” filmed with genuine Marseille accents. It’s not just the melodious tones of actors like Raimu that French listeners should appreciate, but also the unique idioms that Pagnol skillfully incorporated into his dialogues (it seems odd to have cast Lafitte as the main character). While the English-language dub is delightful in its own way, it falls short of capturing this distinctive aspect of Pagnol’s artistic style.

This narrative style presents audiences with a series of entertaining tales about Pagnol’s ups and downs: from his daring gamble on the night his play was staged next door, to the unfortunate missed opportunity when Paramount declined a sequel to “Marcel,” and the goat he rented for the screen, eventually deciding to save it from slaughter. Although these trivia may not trigger laughter in their original context, they could prove amusing later on when shared with others.

The movie seems to miss a definite struggle or tension – the kind that its theme was known for. Despite Pagnol’s impressive accomplishments, it’s unfortunate that the long-term narrative about one of France’s most renowned storytellers didn’t result in a more compelling plot on its own.

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2025-06-08 16:17