Review for Edward and Caroline

I’m confused. I thought Jacques Becker’s reputation as a fastidious and master director was borne from his ability to turn out heart rending melodramas like ‘Casque d’Or’ (also released in a re-mastered edition by Studio Canal this week) – not Spencer Tracey-like screwball comedies like ‘Edward and Caroline’. But what I’m learning from this spate of Becker releases is that this is entirely the point. Here was a director who was comfortable directing films of almost any genre, and always doing an excellent job regardless. Indeed, this may, in part, explain why he is not quite held in the great esteem as some of his contemporaries, like his friend Renoir, who were a little more consistent in their choice of work.

By any yard-stick, this early rom-com is really excellent though. Funny, quirky, moving and ultimately very human in its portrayal of a young married couple who, despite fighting like cats and dogs, are hopelessly in love. And why wouldn’t they be? Edward (Daniel Gélin) may be poor but he’s a superb pianist looking for a lucky break. And Caroline (Anne Vernon), who is from a somewhat loftier background class-wise, is simply gorgeous, despite her propensity to create drama at every turn.


Things start as the young couple are invited to a party being organised by Caroline’s wealthy Uncle where Edward will play a recital. But what to wear? Edwards waist coat was thrown out months ago (without his knowledge) and Caroline’s party frock, whilst perfectly pretty, is an old style and not at all fashionable.

So Caroline organises for Edward to borrow a waist-coat from her Uncle, though he can’t leave to collect it until he provides a quick turn on the piano for his landlady and her son, who has returned briefly on leave from his job in the army. Of course, this eats valuable ‘getting ready’ time for Caroline and tensions start to mount.

 
To make matters worse, whilst Edward is out visiting the Uncle to collect the waist-coat, Caroline decides to cut her frock into a more modern style. When Edward returns, utterly humiliated by the experience of collecting a waist coat that doesn’t really fit well, he sees the dress, losing his temper and striking his lovely wife.

After floods of tears, Edward makes his way to the party on his own, fulfilling his duty to play some pieces for Caroline’s uncles’ wealthy guests. 


But even that doesn’t go to plan. An American business man’s wife gives him the come on but he makes it clear that all he really wants is to be back with his beloved Caroline. Asking the ladies advice on what he should do, she suggests divorce as the only viable option. As he plays piano her words play though his mind and after just one or two stunning numbers he says he must leave and go back to his wife who is unwell.

In the meantime, the Uncle’s son has twigged that Caroline is at home (he picked up the house phone when she rang) and makes his way there, hoping to console her and take advantage of her vulnerability. She rebuffs his advances, despite her resolve to leave Edward ad readies herself to attend the party.


Just as Edward is leaving, she is on her way in but the path to reconciliation is anything but simple. Not only that, Edward might be getting some good news from the wealthy American about a series of solo concerts – so maybe his luck is about to change.

There is much to love about ‘Edward and Caroline’; not least the fantastic performances from its two leads, giving Spencer Tracy and Katherine Hepburn a good run for their money. The film looks fantastic too. Despite being confined pretty much to the house of her uncle and their own fairly dreary flat, every shot is beautifully set, the monochrome contrast lit to perfection and beautifully edited – the work of a masterful director.

 
There is a rippling of the artistic temperament throughout the film, perhaps reflecting Becker’s sensibilities, with the masses unable to properly enjoy the really good stuff – and letting their hair down when some piano hammerer steps in with a popular sing-along after Edward, the artiste, steps down; all great fun!

There are some good contextual extra features included too – a contemporary interview with the somewhat dour and academic Ginette Vincendau, Professor of Film Studies at King’s College London and a regular contributor to Sight & Sound, and a brief interview with Jacques Becker on Le Jazz Et La Jeunesse (1955).


This is the first time ‘Edward and Caroline’ has enjoyed a proper home release in the UK. Becker only made thirteen films in his career and had a reputation as a slow but fastidious worker, perhaps managing two or three shots a day, much to the frustration of his actors who grudgingly appreciated the attention to detail of his approach. ‘Edward and Caroline’, an early outing, is no exception – perfectly formed and precisely made, though retaining a lot of humanity and heart.


This edition is, as is often the case with Studio Canal restorations, absolutely stunning and whilst it may be, to some, a fairly slight movie in the grand scheme of things, it’s well worth picking up and highly recommended.