Reineke Fuchs (1937)
| Movie | |
|---|---|
| German title | Reineke Fuchs |
| Original title | Le Roman de Renard |
| Country of production | France |
| original language | French |
| Publishing year | 1937 |
| length | 65 minutes |
| Rod | |
| Director | Władysław Starewicz , Irène Starewicz |
| script | Roger Richebé (adaptation), Irène Starewicz (scenario), Jean Nohain and Antoinette Nordmann (dialogues) |
| production | Louis Nalpas , Roger Richebé |
| music | Vincent Scotto |
| cut | Laura Sejourné |
Reineke Fuchs (also: Die Fabel von Reineke Fuchs ; original title: Le Roman de Renard ) is the only full-length film by the animation filmmaker Władysław Starewicz . The film, based on the medieval text Le Roman de Renart and the subsequent Reineke-Fuchs poems, was made in France between 1929 and 1931 , but was not premiered in Berlin until 1937 . The puppet cartoon is one of the oldest full-length animated films in film history and is one of Starewicz's best-known works.
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Production history
Born in Poland, Władysław Starewicz is considered a pioneer of European animated film, which contributed significantly to the popularity of the film genre . As early as 1910, he had made his first stop-motion films in Tsarist Russia , in which he staged prepared animals and dolls. After the October Revolution , Starewicz emigrated to France and settled in Fontenay-sous-Bois . He set up a studio in his house where, with the support of his family, he made a variety of puppet cartoons as an independent filmmaker .
In many of his short films , Starewicz implemented fables and well-known fairy tales . As early as the early 1920s, Władysław Starewicz was working on an adaptation of the story of the fox Renart, which was widespread throughout Europe in the late Middle Ages and was later edited by Johann Wolfgang von Goethe as Reineke Fuchs , among others . The preparation of Starewicz's film took over ten years, filming finally began in 1929 and dragged on for over 18 months. Le Roman de Renard was Starewicz's first full-length film, for which he and his daughter Irène, who acted as assistant director and screenwriter, designed hundreds of characters and created detailed sets .
Le Roman de Renard was financed by Louis Nalpas, who had worked with Starewicz since 1928. Nalpas used Starewicz's films to advertise his LNA sound film process , which, like the American Vitaphone , uses the needle-tone process. With La petite parade , based on Hans Christian Andersen's The Steadfast Tin Soldier , Starewicz had already delivered a film in 1928 that was subsequently set to music by Nalpas. In the production of Le Roman de Renard, however, problems with the dubbing delayed the completion of the film considerably. Nalpas' sound film process proved to be unreliable and funding problems led to further delays. Years of legal dispute developed between the business partners, who finally ended their partnership in 1935.
After Louis Nalpas left, Starewicz owned the sole rights to Le Roman de Renard , the setting of which was still incomplete. In 1936, the German UFA acquired the showing rights to the film. The composer Julius Kopsch was commissioned to produce a German sound version under the title Reineke Fuchs . This version was premiered on October 3, 1937 in the UFA pavilion on Berlin's Nollendorfplatz . Performances of the German version followed in Austria , Hungary , Czechoslovakia and the Netherlands, among others .
It was not until 1939 that Starewicz found a producer for a publication in France in Roger Richebé. Richébe bought the original negative as well as the soundtracks of the film music and the sound effects from the UFA . The film was revised for the French release: individual scenes and scene transitions were re-shot with the help of Iréne Starewicz to enable better synchronization, and the dream sequence was even completely re-filmed. Richebé won over the well-known songwriter Jean Nohain for the dialogues, the film music was rewritten by the popular composer Vincent Scotto and recorded by the conductor Raymond Legrand. On April 10, 1941, the revised film was finally premiered in Vichy France .
synchronization
The version by Reineke Fuchs that is in circulation today corresponds to the French version of the film published in 1941.
| role | French speaker |
|---|---|
| Monkey (narrator) | Claude Dauphin |
| Renard the fox | Romain bouquet |
| wolf | Sylvain Itkine |
| bear | Léon Larive |
| lion | Laine |
| Badger | Eddy Debray |
| Rooster | Robert Seller |
| Rabbits | Sylvia Bataille |
Contemporary reception
Despite the popularity of Władysław Starewicz, Reineke Fuchs found little audience interest in the German Reich, the film was only shown on a few screens. Regardless of this, the film courier was enthusiastic about the animation technique of the film: “The technique of the puppet movement? You can't feel it! ” In Austria, however, the demonstrations in the Vienna Urania were very popular, in the summer of 1938 Urania concluded that Reineke Fuchs was a great success in Austria, unlike in the Altreich .
The French version of the film, on the other hand, proved to be a great success from the start. Although producer Roger Richebé was only able to complete eight copies of the film, these were shown in more than 200 cinemas by 1943. Around 120,000 people saw Le Roman de Renard in the first evaluation in France, about half of them in Paris, where the film was canceled after a short time to make room for the National Socialist propaganda film Jud Suess . The French press praised the animation, the dubbing and the background music of the film, as described by the Parisian film magazine La Cinématographie française as a "tour de force" both in technical terms and in terms of the filmmakers' patience. The film critic Maurice Rousseau du Gard even compared Starewicz's fable with the works of Jean de La Fontaine and Victor Hugo . The film review of Le Film Complet , on the other hand, was more reserved, describing Le Roman de Renard as "interesting, but also something special".
Both the German-language version Reineke Fuchs and the French version le Roman de Renard remained in circulation during the Second World War.
Staging
Film historical classification
literature
- Léona Béatrice Martin, François Martin: Ladislas Starewitch, 1882–1965: "Le cinéma ... rend visibles les rêves de l'imagination" . Harmattan, Paris 2003, ISBN 2-7475-4733-7 .
- Richard Neupert: French Animation History . Wiley-Blackwell, Chichester 2011, ISBN 978-1-4443-3836-2 .
Web links
- Le roman de Renard in the Internet Movie Database (English)
- Le roman de Renard in the online film database
- Entry at the Friedrich Wilhelm Murnau Foundation
Individual evidence
- ^ German alternative title according to the Lexikon des Internationale Films , accessed on March 18, 2012.
- ↑ Jerzy Toeplitz : History of the film. 1934-1939. Henschel, Berlin 1979, p. 188.
- ^ Adrian Danks: Ladislaw Starewicz and The Mascot . In: Senses of Cinema , Issue 31, April 22, 2004.
- ↑ Léona Béatrice Martin, François Martin: Ladislas Starewitch , pp. 174-175.
- ^ Richard Neupert: French Animation History , pp. 63, 65.
- ^ Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 215.
- ^ Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 216.
- ↑ Léona Béatrice Martin, François Martin: Ladislas Starewitch , pp. 176–178.
- ^ A b Richard Neupert: French Animation History , p. 64.
- ↑ Thomas Basgier: The seven ravens . In: Andreas Friedrich (Ed.): Film genres: Animated film . Philipp Reclam jun., Stuttgart 2007, ISBN 978-3-15-018405-9 , p. 50.
- ↑ Film-Kurier No. 230, October 4, 1937. Quoted by the German Institute for Animated Film ( Memento of March 19, 2014 in the web archive archive.today ).
- ^ Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 217.
- ↑ La Cinématographie française , April 27, 1941. Quoted in Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 189.
- ^ Voix Française , May 23, 1941. Quoted in Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 189.
- ↑ Le Film Complet , July 23, 1941. Quoted in Léona Béatrice Martin, François Martin: Ladislas Starewitch , p. 190.