''Stavisky...'' is a

1974 Major events in 1974 include the aftermath of the 1973 oil crisis and the resignation of United States President Richard Nixon following the Watergate scandal. In the Middle East, the aftermath of the 1973 Yom Kippur War determined politics; ...

French biographical drama film based on the life of the financier and embezzler

Alexandre Stavisky Serge Alexandre Stavisky (20 November 1886 – 8 January 1934) was a French financier and embezzler whose actions created a political scandal that became known as the Stavisky Affair. Early life Alexandre Stavisky was a Russian Jew born in mode ...

and the circumstances leading to his mysterious death in 1934. This gave rise to a political scandal known as the Stavisky Affair, which led to fatal riots in Paris, the resignation of two prime ministers and a change of government. The film was directed by

Alain Resnais Alain Resnais (; 3 June 19221 March 2014) was a French film director and screenwriter whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct short films including '' Night and Fog ...

and featured

Jean-Paul Belmondo Jean-Paul Charles Belmondo (; 9 April 19336 September 2021) was a French actor. Initially associated with the New Wave of the 1960s, he was a major French film star for several decades from the 1960s onward, frequently portraying police officer ...

as Stavisky and Anny Duperey as his wife, Arlette.

Stephen Sondheim Stephen Joshua Sondheim (; March22, 1930November26, 2021) was an American composer and lyricist. Regarded as one of the most important figures in 20th-century musical theater, he is credited with reinventing the American musical. He received Lis ...

wrote the film's musical score.

Plot

The core narrative of the film portrays the last months in the life of Serge Alexandre (Stavisky), from late 1933 to January 1934. We see glimpses of his operations as a "financial consultant", setting up a mysterious company to deal in international bonds, his 'laundering' of stolen jewellery, and his juggling of funds to stave off the discovery of fraudulent bonds that he has sold through the Crédit Municipal in Bayonne (municipal pawnbrokers); we see his activity as a theatre impresario in Paris, his casino gambling, his purchase of influence among the press, the police, and politicians, and always his extravagant lifestyle and desire to impress; we see his devotion to his glamorous wife Arlette, his exploitation of her beauty to lure funds from a Spanish revolutionary fascist, his contradictory accounts to his friends of events in his own past, and gleams of political idealism - which may yet be just expedients to create further webs of deception. Interposed in the narrative are moments of flashback (to his teenage awakening to a hedonistic life, to his arrest as the petty crook Stavisky in 1926, and to his father's suicide after this family dishonour) and flash-forwards (to his funeral, and to the parliamentary enquiry into the Stavisky affair at which his friends and associates testify with varying degrees of honesty). Also punctuating the main story are scenes depicting the arrival of

Trotsky Lev Davidovich Bronstein ( – 21 August 1940), better known as Leon Trotsky,; ; also transliterated ''Lyev'', ''Trotski'', ''Trockij'' and ''Trotzky'' was a Russian revolutionary, Soviet politician, and political theorist. He was a key figure ...

in France to seek political asylum, and his sojourn in various country houses and hotels, receiving visits from left-wing activists. These scenes appear to have no link with the main narrative (apart from two minor characters: the young German-Jewish actress who moves between both stories, and the police-inspector who monitors Trotsky's movements and then also investigates Alexandre), until the end of the film when, in the wake of Stavisky's fall and exposure as a Ukrainian immigrant, a Jew, and a confidant of members of the left-of-centre government, Trotsky's presence is deemed undesirable and he is expelled from the country, while a new 'government of national unity' is formed. The death of Alexandre/Stavisky in a chalet in Chamonix becomes a further mystery: either a suicide by gunshot, like that of his father, or an assassination by the security forces to ensure his silence.

Background

The film began as a commission by Jean-Paul Belmondo to the screenwriter Jorge Semprún to develop a scenario about Stavisky. Resnais, who had previously worked with Semprún on '' La Guerre est finie'', expressed his interest in the project (after a gap of six years since his previous film); he recalled seeing as a child the waxwork figure of Stavisky in the Musée Grevin, and immediately saw the potential of Belmondo to portray him as a mysterious, charming and elegant fraudster. Semprún described the film as "a fable upon the life of bourgeois society in its corruption, on the collaboration of money and power, of the police and crime, a fable in which Alexander's craziness, his cynicism, act as catalysts".''The Times'' (London), 22 May 1974, p.11, col.C. Resnais said: "What attracted me to the character of Alexandre was his connection to the theatre, to show-business in general. Stavisky seemed to me like an incredible actor, the hero of a serial novel. He had the gift of bringing reality to his fantasies by means of regal gestures." (Among many theatrical references, the film features a scene in the theatre in which Alexandre rehearses a scene from Giraudoux's ''

Intermezzo In music, an intermezzo (, , plural form: intermezzi), in the most general sense, is a composition which fits between other musical or dramatic entities, such as acts of a play or movements of a larger musical work. In music history, the term ha ...

'', and another in which he attends a performance of ''

Coriolanus ''Coriolanus'' ( or ) is a tragedy by William Shakespeare, believed to have been written between 1605 and 1608. The play is based on the life of the legendary Roman leader Gnaeus Marcius Coriolanus. Shakespeare worked on it during the same ...

''. His office is adorned with theatrical posters.)

Production

Location shooting took place in and around Paris and in Biarritz during autumn 1973. Resnais said that he wanted to film and edit the motion picture in the way that a 1930s film-maker would have done it, using only the camera set-ups and movements that might have been seen in 1930. He also acknowledged an influence from silent cinema in the way that intertitles were used. The first screening of the film was given at the Cannes film festival in May 1974. After this performance further distribution was delayed when Stavisky's son sought to have the film seized in a legal action against the producers of the film because of its depiction of the relationship between Alexandre Stavisky and his wife.

Cast

as Serge Alexandre Stavisky * François Périer as Albert Borelli, Alexandre's dourly efficient and ever-present lawyer * Anny Duperey as Arlette, Alexandre's glamorous wife * Michael Lonsdale as Doctor Mézy, Alexandre's physician and friend *

Roberto Bisacco Roberto Bisacco (1 March 1939 – 10 October 2022)Claude Rich as Inspector Bonny, the relentless and not wholly disinterested investigator of Alexandre's frauds *

Charles Boyer Charles Boyer (; 28 August 1899 – 26 August 1978) was a French-American actor who appeared in more than 80 films between 1920 and 1976. After receiving an education in drama, Boyer started on the stage, but he found his success in American fi ...

as Baron Jean Raoul, a genial right-wing aristocrat who becomes Alexandre's loyal friend *

Pierre Vernier Pierre Vernier (; 19 August 1580 at Ornans, Franche-Comté (at that time ruled by the Spanish Habsburgs, now part of France) – 14 September 1637, same location) was a mathematician and instrument inventor. He was the inventor and eponym o ...

as Pierre Grammont * Jacques Spiesser as Michel Grandville * Michel Beaune as The journalist * Niké Arrighi as Edith Boréal * Raymond Girard as Doctor Pierre *

Gigi Ballista Gigi Ballista (1 December 1918 – 2 August 1980) was an Italian film and television actor. He appeared in 60 films between 1961 and 1980. Life and career Born in Florence, Ballista graduated in law, then he started working as a PR consulta ...

as Gaston Henriet * Yves Brainville as Monsieur de la Salle * Niels Arestrup as Rudolph *

François Leterrier François Leterrier (; 26 May 1929 – 4 December 2020) was a French film director and actor. He entered the film industry when he was cast as the lead in Robert Bresson's film ''A Man Escaped'' (1956). After this he assisted other directors before ...

André Malraux Georges André Malraux ( ; ; 3 November 1901 – 23 November 1976) was a French novelist, art theorist, and minister of cultural affairs. Malraux's novel ''La Condition Humaine'' (''Man's Fate'') (1933) won the Prix Goncourt. He was appointed ...

Gérard Depardieu Gérard Xavier Marcel Depardieu (, , ; born 27 December 1948) is a French actor. An icon of French cinema, considered a world star in the same way as Alain Delon or Brigitte Bardot, he has completed over 250 films since 1967, most of which as ...

appears in a small role, the first of his several performances for Resnais, as a young inventor of the Matriscope, a device for determining the sex of a child in the womb, to which Alexandre impulsively gives his financial backing.

Reception

With its high production-values and the popularity of its star actor, the film was enthusiastically received by the public in France, whereas, perhaps for the same reasons, it drew a cool response from many critics who felt that Resnais had betrayed his reputation for intellectual rigour. A British reviewer expressed several of the doubts which were felt by critics: "No one could fail to respond to the elegance of the fashion-plate costumes, the Art Deco interiors, the gleaming custom-built cars, the handsome grand hotels, and so on, all paraded before us to the tinkling thirties-pastiche foxtrot music of Stephen Sondheim... But Resnais's and Semprún's Stavisky is just not a very interesting figure... what he represents to the film's authors is not clear... What the picture does not do is use the Stavisky affair to make any larger comment upon the drift of twentieth-century life, or capitalist society, or even human gullibility... One's ultimate impression of the film is of an immense gap between the sophistication of its technique and the commonplace simple-minded notions it purveys." The theme of uncertainty in a fragmented narrative (previously explored by Resnais among equally elegant surroundings in '' L'Année dernière à Marienbad'') was identified by a more sympathetic American reviewer, though with some reservations about the density of the historical background: "The difficulty of knowing what is true, of discovering what really happened, ripples throughout Alain Resnais's "Stavisky" — a spell-casting mood piece that is also factually frustrating. Ideally, it should be possible to relish this fascinating movie on its own. But, since so little French history of the nineteen-thirties is provided, it's likely to send you flying to the library.... Despite its mystifications, ''Stavisky'' is one of the most rewarding films I've seen this year—and also one of the most intelligent." Robert Benayoun, Resnais's commentator and friend, writing some years later, felt that his intentions in the film had been widely misunderstood, especially by those who looked for a politically engaged analysis of a crucial period in French history and found instead a retreat into nostalgia. For Benayoun, Resnais had seen in Stavisky a Faustian archetype, haunted by visions of his oncoming death, who fights to hold on to his 'empire' ("Alexander the Great"), resorting to every kind of illusion and delusion to gain more time for himself. The kaleidoscopic method of the narrative, its theatricality and romanticism provided the director with exactly the tools to represent the dazzling and elusive career of this "sublime crook". He concluded that ''Stavisky'' was perhaps one of the films in which Resnais had engaged himself most personally. Another critic took up the theme of theatricality in identifying the true subject of the film, as well as linking it to the political background: "It is not a portrait of Stavisky, but of the rôle he sought to play. It is not a study of character, but of a performance. It is not an image of reality, but the analysis of an illusion. By starting precisely from these 'false appearances' which Resnais can liken to those of the pre-war political establishment, what he speaks of here is quite simply the death of an era whose false splendours will be lifted, like a curtain in the theatre, upon the outbreak of fascism in Europe and the Second World War." ''Stavisky'' made Monte Hellman’s top-10 list in the 2012 ''

Sight & Sound ''Sight and Sound'' (formerly written ''Sight & Sound'') is a monthly film magazine published by the British Film Institute (BFI). Since 1952, it has conducted the well-known decennial ''Sight and Sound'' Poll of the Greatest Films of All Time. ...

'' polls of the greatest films ever made.

Awards

For his role as Baron Raoul,

was given a special tribute by the jury at the 1974 Cannes Film Festival. He also won a Best Supporting Actor award from the

New York Film Critics Circle The New York Film Critics Circle (NYFCC) is an American film critic Film criticism is the analysis and evaluation of films and the film medium. In general, film criticism can be divided into two categories: Academic criticism by film scho ...

. It was his last appearance in a French film. The film was nominated for Best Foreign Language Film by the U.S.

National Board of Review The National Board of Review of Motion Pictures is a non-profit organization of New York City area film enthusiasts. Its awards, which are announced in early December, are considered the first major harbinger of the film awards season that ...

Title

Resnais's preferred title for the film was ''Biarritz-Bonheur'', referring to the department store which symbolised a certain luxury lifestyle seen in the 1930s, and he continued to use this title in later interviews. However, during filming the distributors insisted that the film should be called ''Stavisky'', a title which Resnais disliked because he thought it would suggest that the film was about the Stavisky affair which only broke out after Stavisky's death. The only concession that he was able to gain was that the title should be written with an ellipsis, as ''Stavisky...'', suggesting something more speculative about the subject rather than a history.François Thomas, ''L'Atelier d'Alain Resnais''. (Paris: Flammarion, 1989.) p.269.

References

External links

*
''Stavisky''
at Le Film Guide * {{Alain Resnais 1974 films Italian drama films French drama films 1970s French-language films 1974 drama films Films directed by Alain Resnais Stock trading films French films based on actual events Italian films based on actual events Films set in 1933 Films set in 1934 Films scored by Stephen Sondheim 1970s Italian films 1970s French films