In all the decades since, countless are those films to have been made that played with similar narrative ideas, whether as a comedy, a drama, or any other genre. Strained family dynamics, especially with step-parents or step-siblings, have been the fuel for many a feature. This 1925 French movie, though, seems to be well ahead of the curve for its timeframe, and despite some lighter moments is arguably heavier in its application of dramatic beats than many of its spiritual successors. This is indisputably thanks in part to the locale selected for the setting, and more to the point for filming on location, which join hand in hand to build the severity of the tale to unfold. The set design is lovely, to be sure, yet there can be no mistaking that the surrounding environs where Jacques Feyder set up shop are one of the chief attractions, are the plot is tailor-made for the mountainous region. Such as it is 'Visages d'enfants' may not be immediately striking, but like no few other pictures (of the silent era not least) it proves its strength naturally as the length progresses. Honestly, this is a superb movie, and it holds up terrifically even almost 100 years later.
There are many other instances among silent films where acting was characterized by exaggerated body language and facial expressions, a holdover from the stage and compensation for lack of sound and verbal dialogue. In increasing bits and pieces as the medium developed, however, heading into and past the advent of talkies, performances were gradually defined by more natural, nuanced comportment. It's to the credit of everyone involved here, both the cast and director Feyder, that these portrayals mostly fall into the latter category. This is true for all on hand, though of everyone, I'm actually of the opinion that it's the children who stand out most. Jean Forest and Arlette Peyran especially demonstrate controlled range and subtlety in their acting that feels advanced for their youth, and I can't help but be impressed. After all, it's the kids who are the emotional heart of the picture; this could have succeeded without them, as other titles have, but it definitely wouldn't have been the same.
Feyder, meanwhile, illustrates fine skill in orchestrating shots and scenes - not just in terms of taking advantage of the natural surroundings, but in generally ensuring scenes carried all the greatest impact that they could without becoming melodramatic or maudlin. With that said, 'Visages d'enfants' is also a major credit to cinematographers Léonce-Henri Burel and Paul Parguel, who play with techniques that certainly seem novel even for 1925, well after cinema had already been around for awhile. Their methods of filming at night or in the dark, providing a unique first-person point of view, or letting the camera move, and close-ups and more, show an ingenuity that enterprising filmmakers were still mostly just irregularly toying with. Taken together with the filming locations and the production design, the end result is often a mind for perspective that surpasses the more rudimentary photographic foundations that were more common even just a few years before.
If I have any critique to make, it might be that as much as the first half of the picture struggles slightly with tone. At some points it seems to be slanted toward being more of a comedy, or a comedy-drama, which doesn't mesh with the story beats that initially present. It rather comes across at first that Pierre and Jeanne are both just bad parents who don't communicate with their children, or about their children, and who don't necessarily respect Jean and Pierrette's grieving process. Such concerns melt away as the plot progresses, and the back half is as compelling and heartfelt as what one might hope of any feature, but all the same, the disparity is noticeable. Even with that in mind, though, the subjective imperfections or weaknesses are mild and minimal, and by and large the movie is outstanding. From writing and direction, to acting and all those contributions from behind the scenes, it's smartly made with unquestionable care and skill. Any comparisons that may come to call in no way diminish the value of what Feyder's work has to offer: 'Visages d'enfants' is an excellent silent classic that deserves recognition, and is well worth two hours of anyone's time to check out.
There are many other instances among silent films where acting was characterized by exaggerated body language and facial expressions, a holdover from the stage and compensation for lack of sound and verbal dialogue. In increasing bits and pieces as the medium developed, however, heading into and past the advent of talkies, performances were gradually defined by more natural, nuanced comportment. It's to the credit of everyone involved here, both the cast and director Feyder, that these portrayals mostly fall into the latter category. This is true for all on hand, though of everyone, I'm actually of the opinion that it's the children who stand out most. Jean Forest and Arlette Peyran especially demonstrate controlled range and subtlety in their acting that feels advanced for their youth, and I can't help but be impressed. After all, it's the kids who are the emotional heart of the picture; this could have succeeded without them, as other titles have, but it definitely wouldn't have been the same.
Feyder, meanwhile, illustrates fine skill in orchestrating shots and scenes - not just in terms of taking advantage of the natural surroundings, but in generally ensuring scenes carried all the greatest impact that they could without becoming melodramatic or maudlin. With that said, 'Visages d'enfants' is also a major credit to cinematographers Léonce-Henri Burel and Paul Parguel, who play with techniques that certainly seem novel even for 1925, well after cinema had already been around for awhile. Their methods of filming at night or in the dark, providing a unique first-person point of view, or letting the camera move, and close-ups and more, show an ingenuity that enterprising filmmakers were still mostly just irregularly toying with. Taken together with the filming locations and the production design, the end result is often a mind for perspective that surpasses the more rudimentary photographic foundations that were more common even just a few years before.
If I have any critique to make, it might be that as much as the first half of the picture struggles slightly with tone. At some points it seems to be slanted toward being more of a comedy, or a comedy-drama, which doesn't mesh with the story beats that initially present. It rather comes across at first that Pierre and Jeanne are both just bad parents who don't communicate with their children, or about their children, and who don't necessarily respect Jean and Pierrette's grieving process. Such concerns melt away as the plot progresses, and the back half is as compelling and heartfelt as what one might hope of any feature, but all the same, the disparity is noticeable. Even with that in mind, though, the subjective imperfections or weaknesses are mild and minimal, and by and large the movie is outstanding. From writing and direction, to acting and all those contributions from behind the scenes, it's smartly made with unquestionable care and skill. Any comparisons that may come to call in no way diminish the value of what Feyder's work has to offer: 'Visages d'enfants' is an excellent silent classic that deserves recognition, and is well worth two hours of anyone's time to check out.