The second of Paul Muni's biographical films for Warner Bros., the Oscar-winning The Life of Emile Zola is by far the best, even allowing for the dramatic license taken with the material. When first we meet French novelist and essayist Zola, he is starving in a Parisian garret with his painter friend, Paul Cezanne. Each time Zola attempts to write "the truth," he is stymied by governmental censors. Still, he is able to achieve both fame and fortune with the publication of "Nana," an unardorned
and best-selling tale of a prostitute (whom we can safely assume was not quite as likeable or attractive as Erin O'Brien-Moore, who plays the novel's "role model"). The lion's share of the film is devoted to Zola's attempts to clear the reputation of Army captain Alfred Dreyfus (Joseph Schildkraut), who has been framed on a charge of treason by his superiors and condemned to Devil's Island. Publishing his famous manifesto "J'accuse," Zola leaves himself wide open for public condemnation and criminal prosecution. Though he delivers a brilliant self-defense in court, Zola is found guilty. Forced to flee to England, he continues railing against the unjust, corrupt military establishment, eventually forcing a retrial and exoneration of Dreyfus. Alas, Zola is killed in a freak accident at home before he can meet the liberated Dreyfus. At his funeral, Emile Zola is eulogized by Anatole France (Morris Carnovsky), who refers to the fallen crusader as "a moment of the conscience of man." For various reasons -- some dramatic, some legal -- the actual facts of "L'affaire Dreyfus" are altered by the Norman Reilly Raine/Heinz Herald/Geza Herczeg screenplay. The fact that Dreyfus was railroaded because he was Jewish is obscured; in fact, except for a very brief visual reference, the word "Jew" is never mentioned. Only those villains whose names were a matter of public record (Major Dort, Major Esterhazy) are specifically identified. Others are referred to as the Chief of Staff, the Minister of War, etc. to avoid lawsuits from their descendants (remember that the events depicted in the film, most of which take place between 1894 and 1902, were still within living memory in 1937). As for Dreyfus himself, he was not freed and restored to rank in 1902, the year of Zola's death, but in 1906-after being found guilty again in an 1899 retrial (Dreyfus died in 1935, outliving everyone else involved in the case). These historical gaffes can be forgiven in the light of the film's overall message: that a single small, clear voice can fight City Hall. If for nothing else, The Life of Emile Zola deserves classic status due to Paul Muni's towering performance, most notably in the unforgettable summation scene: "By all that I have done for France, by my works -- by all that I have written, I swear to you that Dreyfus is innocent. May all that melt away -- may my name be forgotten, if Dreyfus is not innocent. He is innocent." ~ Hal Erickson, Rovi
The film is destined to box office approval of the most substantial character. It is finely made and merits high rating as cinema art and significant recognition as major showmanship.
This act of altruism on behalf of the brothers Warner was rewarded with the best picture Oscar for 1937; it isn't so much bad as utterly, magisterially bland.
One of Warner's earnest biopics of great men, with good acting from Paul Muni in the lead and Joseph Schildkraut who won a Supporting Actor Oscar as the wrongly accused Captain Alfred Dreyfus
A recurring theme among Oscar winners, Life of Emile Zola's anti-oppression topic rings loudly in the ears of all those who would use war as an excuse to abridge freedoms.
This film is based on the life/work of French writer and activist Emile Zola. It starts out as a stand biopic, but then becomes a stirring courtroom drama, as it focuses on one of the most important events of Zola's life: his condemnation of antisemitism that led to the wrongful accusement of army officer Alfred
Dreyfuss, in what is known as the Dreyfuss Affair. Through tireless determination and effort, Zola helped to get Dreyfus exonerated, though he himself was wrongfully charged with libel, mostly because of corruption and shady doings. I had known little about Zola before seeing this, and was only marginally familiar with the Dreyfus Affair. The good thing about this movie is that you can still appreciate it without needing in depth knowledge prior to seeing it. It takes a fair amount of liberties with things, and unfortunately it fails to really point the finger at antisemitism, though it makes up for it by being a very stinging condemnation of mob mentality instead. Aside from that, this is a fine film filled with great music from Max Steiner, and some really goosd performances from Paul Muni and many of the supporting players, many who sometimes upstage him.I enjoyed this, but I might need to give it a second viewing, as I kept getting interrupted and didn't get to enjoy it in piece. For an oldie (depsite its flaws) it's pretty good. Give it a watch.
March 14, 2011
Chris Weber
Super Reviewer
Creaky biopic of an interesting and worthwhile story. Keeping in perspective when it was made the film is not bad, Muni a fine actor when not in costume, say in Chain Gang, brings the hambone out as Zola ages and many of the rest of the cast are stiff and overly grand. However it is incredible that this middling film
won Best Picture over the original A Star is Born, Stage Door and the Awful Truth!!
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