Doomsday Forecast Met With Disbelief

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MOVIE REVIEW
End of the World (La fin du monde)
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Genre: Sci-Fi
Year Released: 1931, 2023 Kino Lorber Blu-ray
Runtime: 1h 35m
Director(s): Abel Gance
Writer(s): Jean Boyer, Camille Flammarion, Abel Gance, André Lang
Cast: Colette Darfeuil, Sylvie Grenade Brindeau, Abel Gance, Samson Fainsilber
Language: French with English subtitles
Where To Watch: available July 18, 2023, pre-order here www.kinolorber.com, or www.amazon.com

RAVING REVIEW: Join me as we venture into the labyrinth of French cinema history and dust off a treasure from the past – the END OF THE WORLD. This film is an audacious leap, as it’s the first talkie from the maestro Abel Gance, celebrated for his iconic silent flick NAPOLEON. This trailblazing piece unspools the intertwined tales of the Novalic brothers – Jean (Abel Gance,) the romantic poet, and Martial (Victor Francen,) the stargazing savant – and Schomburg (Samson Fainsilber,) a smooth-talking financier. They all find themselves inexplicably trapped by the magnetic charm of the winsome Geneviéve (Colette Darfeuil.)

Martial, peering through the lens of his telescope, uncovers a dreadful secret – a comet on a collision course with Earth. Our narrative takes an unexpected twist as Martial's doomsday forecast is met with widespread disbelief (this would probably be what happens in the modern day, too,) ultimately landing him in a mental asylum. However, this setback continues his resolve. Martial broadcasts the alarming news worldwide, urging nations to join forces against the inbound celestial hazard. The response? Global upheaval, an economy teetering on edge, and the opportunistic Schomburg then have the opportunity to take advantage of it all.

Amid the escalating drama, Martial stands firm while the looming comet stirs up different responses from across the globe. From extravagant distractions sponsored by the wealthy to earnest prayers rising from diverse faith communities, the reactions are as varied as they are intense. Adding to the turmoil, the government tries to downplay the crisis, only fanning the flames of public panic. The more I watched this movie, the more I saw our modern history.

Interestingly, Gance's original vision for the END OF THE WORLD would be another silent film. But, the movie defied expectations, stepping boldly into French sound cinema. This marked a significant detour from Gance's earlier silent spectacle, NAPOLEON. In the wake of the film's release, Gance retreated, disheartened by its swift exit from French theaters. Even German audiences only got to see an abridged cut. Despite its rocky inception, END OF THE WORLD heralded a seismic shift for French cinema, carving out a new niche for science fiction talkies. While the film might seem lengthy in its full cut to some, it brilliantly captures the mounting tension of an impending catastrophe. The visually arresting display of the nearing comet amid tempestuous storms and raining meteorites is a sight. The movie also deftly handles the theme of religion, portraying the comet as a divine form of retribution. This echoes the sacrifice of Jesus Christ for the redemption of humanity's sins.

The idea of a world on the brink of destruction isn't new to cinema. But END OF THE WORLD offers a fresh angle. The film starts with a poignant performance in a church, with Gance, in the role of Jean, embodying the crucifixion of Christ. The blend of silent and sound film techniques, discordant music, interspersed title cards, and an intriguing plotline sets this film apart.

END OF THE WORLD is Gance's cinematic call for peace, advocating for a united "Universal Republic." The film's slow-burn narrative might test the patience of some, and specific performances might border on the melodramatic; however, Gance's innovative techniques were groundbreaking in their time. The film offers an intriguing look into the evolution of cinema and is a goldmine for those fascinated by film history. Abel Gance's END OF THE WORLD is a testament to his enduring commitment to the art of cinema.

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[photo courtesy of KINO LORBER]