Review of Gervaise

This is probably Emile Zola's greatest novel in its overwhelming naturalistic revelation of the progress of alcoholism, and René Clement follows the novel conscientiously hardly missing any detail, extremely consistent all the way to the last shattering picture of the ultimate consummation of Gervaise's case. The film reminds very much of the best films of René Clair and Jean Renoir, the public scenes are all marvellous in their genuineness, culminating in the great dinner in the middle of the film, bringing back Gervaise's first husband, who abandoned her with two children at an early stage, whereupon she had to have a husband and found Coupeau the roofer, whom she married and started a new and happier life with, until he fell down from the roof and turned an alcoholic. Well, the film is dominatingly positive most of the part, the street life and common life of the ordinary people of the quarter is depicted with great charm and consistent good humour, while inevitably the tragedy must begin, although fortunately late enough. It is Maria Schell's film, of course, she makes another of her unforgettably lovable female characters, her charm and beauty is always irresistible, and here at times she even provides a striking likeness with one of Raphael's most lovable madonnas. The film is a masterpiece, although somewhat long, while the naturalistic realism of Zola at times becomes unpleasantly overwhelming in its ruthess lack of prudence.