In the 1980s and 1990s, we could see plenty of successful French films being remade by Hollywood, and some critics often saw it as a symptom of a creative crisis within the ranks of the American film industry. But this phenomenon was hardly new. Some half a century ago, French filmmakers themselves remade their own movies in order to conquer new markets. A good example is Marianne de ma jeunesse, also known as Marianne of My Youth, a melodrama directed by the famous French director Julien Duvivier in 1955. At the same time, it was remade in German by the same director and with most of the original cast as Marianne, meine Jugendliebe.
The plot, based on the novel by Peter von Mendelssohn, is set in a boarding school for boys situated in the Swiss Alps. The school, run by the benevolent Professor (played by Friedrich Domin), is a rather boring place, but everything changes with the arrival of a new boy, 18-year-old Vincent Loringer (played by Pierre Vaneck). Vincent grew up in Argentina and his unconventional lifestyle and guitar-playing abilities make him the most popular boy in school and the object of the increasingly unhealthy obsession of the Professor's young cousin, Lise (played by Isabelle Pia). Vincent is, however, more intrigued by the mysterious dark castle on the other side of the lake and agrees to participate in a boat expedition organised by the gang of the school's bullies. When they leave him stranded, he comes to the castle and meets Marianne (played by Marianne Hold), a beautiful woman who seems to be imprisoned there. Upon his return, Vincent is not sure whether this woman is a dream or reality, but he knows that he is in love.
Marianne de ma jeunesse was one of the most popular films in 1950s Europe. From today's perspective, it is difficult to explain why, since rarely any film can match the description of the phrase "old-fashioned" like this one. Julien Duvivier, who also wrote the script, attempts to paint a rather simple coming-of-age story with many layers of romantic symbolism, but the result is less than satisfactory. Duvivier made his greatest mistake by using the often irritating narration by Gil Vidal (who plays Vincent's best friend Manfred in the film) that made the entire film corny. The combination of genuine locations and not-that-convincing studio sets for exterior scenes didn't help either. On the other hand, the cinematography is very good (although we are left with the impression that only colour film could do justice to the excellent Alpine locations), the actors are more than fine, and there are even a few scenes that seem unusually erotic for 1950s standards. Marianne de ma jeunesse, however, might entertain today's audience, although not in a way Duvivier intended. Apart from the romantic tale about unspoiled nature and virginity, more cynical viewers might find subplots dealing with various forms of perversion, violence and psychological defects more suitable for Hitchcockian thrillers.
RATING: 6/10 (++)
(Note: The text in its original form was posted in Usenet newsgroup rec.arts.movies.reviews on January 16th 2002)
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