FILM REVIEWS
Oscar Winners: The Life of Emile Zola (1937) B
In 1937, William Dieterle’s “The Life of Emile Zola” was nominated for the largest number of awards, 10. The movie won 3: Best Picture (producer Henry Blanke), Screenplay (Heinz Herald, Geza Herczeg, and Norman Reilly Raine), and Supporting Actor to Joseph Schildkraut, playing the role of the wrongly accused Jewish Captain, Alfred Dreyfus.
Viewers who saw the film at the time still talk about the powerful scene, in which the anguished French novelist, previously censured by the government and public for his audaciously realistic novels (“Nana” among them), takes his pen in hand and declares, “J’Accuse!” upon which audiences cheered and applauded out of their seats.
As expected, the movie is replete with liberal speeches. Addressing the courtroom, Zola states: “Not only is an innocent man crying out for justice, but more, much more–a great nation is in desperate danger of forfeiting her honor!” So do not take upon yourself a fault, the burden of which you will forever bear in history! A judicial blunder has been committed. The condemnation of an innocent man induced the acquittal of a guilty man, and now today you are asked to condemn me because I rebelled on seeing our country embarked on this terrible course.”
Defending Dreyfus in court, he exclaims: “At this solemn moment, in the presence of this tribunal which is the representative of human justice, before you gentlemen of the jury, before France, before the whole world—I swear that Dreyfus is innocent by my 40 years of work, by all that I have won, by all that I have written to spread the spirit of France, I swear that Dreyfus is innocent! May all that melt away!—May my name perish if Dreyfus be not innocent. He is innocent.”
At the end, Morris Carnovsky offers a grand, pompous eulogy of Zola in the film’s last lines: “France is once again today a land of reason and benevolence, because one of her sons through an immense work and great action gave rise to a new order of things based on justice and the rights common to all men! Let’s not pity him, because he suffered and endured. Let us envy him! Let us envy him because his great heart won him the proudest of destinies. He was a moment in the conscience of man.”
Despite its grim subject, courtroom scenes, and long speeches, ”Life of Emile Zola” became a huge success, both critically and commercially, serving as a model for other social-problems pictures, before, during and after WWII.
Paul Muni’s “specialty” in Hollywood was portraying extraordinary men in a series of Warner biopics, including Louis Pasteur, Benito Juarez, Pierre Radisson (the French explorer), Joseph Elsner (Chopin’s teacher), Napoleon, and Schubert.
Had Paul Muni not won the Best Actor the previous year, for another biopicture, “The Story of Louis Pasteur,” he would have received the Oscar for his portrayal of the French writer, Emile Zola, who exposed anti-Semitism in the French government. Reviewing “The Story of Emile Zola,” one critic suggested that, “Along with Louis Pasteur, it ought to start a new category: The Warner crusading films, costume division.”
Oscar Alert
Nine other movies competed with “The Story of Emile Zola” for Best Picture, including Leo McCarey’s marital comedy “The Awful Truth,” with six nominations, and Gregory La Cava’s “Stage Door,” with four. The other nominees were: William Wyler’s social drama set in a New York City slum, “Dead End,” Frank Capra’s utopian comedy “Lost Horizon,” and Henry King’s adventure “In Old Chicago.”
The remake, “I Accuse,” in 1958 is a poor feature.
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