text:
Marquis St. Evrémonde
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Marquis St. Evrémonde
A Tale of Two Cities character
The Evrémonde brothers (left) by Fred Barnard, 1870s
Created by
Charles Dickens
Portrayed by
Basil Rathbone
Information
Nickname(s)
Monsieur the Marquis
Gender
Male
Title
Marquis
Nationality
French
The Marquis St. Evrémonde is a fictional character in Charles Dickens' A Tale of Two Cities.
Contents
[hide]
1 Overview
1.1 Marquis in Paris
1.2 Marquis at his estate
1.3 Death of the Marquis and aftermath
1.4 Names
2 Cinematic and Theatrical Portrayals
3 References
Overview[edit]
The Marquis or Monseigneur St. Evrémonde appears (in life) for only three chapters in Book the Second, symbolizing the pitiless, arrogant, French aristocracy. About 60 years old, with a face like a mask, he is Charles Darnay's uncle and twin brother of Charles Darnay's father (now deceased).
Marquis in Paris[edit]
While still handsome, fashionable, and exquisitely poised, the Marquis St. Evrémonde is out of favor at the royal court for reasons that are not specified. In "Monseigneur in Town", the Marquis is greeted without warmth by "Monseigneur" (a great lord and senior courtier) at the latter's Parisian reception. Snubbed, he waits until all Monseigneur's sycophants and hangers-on file out, then murmurs a curse sending Monseigneur to the Devil. (Note that the curse is uttered in a mirrored salon, possibly suggesting that it rebounds on the speaker.) The Marquis St. Evrémonde's carriage heads for his country chateau through the streets of Paris, at the break-neck pace favored by the nobility. Although most pedestrians scatter in terror, his carriage runs over a little child; being one of Gaspard's. The Marquis shows no remorse at the sight of the crushed body — inquiring whether his horses are alright — and, "with the air of a gentleman who had accidentally broke some common thing, and had paid for it",[1] throws a gold coin to the distraught father. The Defarges appear—Ernest Defarge to comfort the grieving Gaspard; Madame Defarge to stand erect, stare at the Marquis boldly in the face and knit his Fate. The remainder of the crowd watches in cowed silence but an unknown hand throws the coin back into the carriage. Before driving on, the Marquis responds with cold contempt that he would willingly ride over any of "you dogs" and exterminate them. This scene foreshadows the oncoming revolution in France.
Marquis at his estate[edit]
The Marquis St. Evrémonde appears in the two following chapters "Monseigneur in the Country" (when he is told by a road worker that a dust-covered figure was hanging on to the bottom of his carriage) and "the "Gorgon's Head" (dining with his nephew, Charles Darnay). Dickens uses his account of the journey of the indifferent Marquis through the countryside surrounding his chateau to graphically describe the poverty and desperation of the peasantry.
During the dinner between uncle and nephew, Charles Darnay apologizes for being detained in London. He alludes to his danger there (his recent treason trial) wondering aloud if his uncle did not in fact orchestrate the accusations brought against him. Charles further believes that if the Marquis were still in the French Court's good graces, he would obtain a lettre de cachet and have his nephew imprisoned in France. His uncle confesses that for the honor of the family, he '"would do exactly that'".
The dinner conversation between uncle and nephew reveals their diametrically opposed view of the rural peasantry. St. Evrémonde the elder considers it a divine duty to subjugate "the Vulgar", ("Repression is the only lasting philosophy…"). He regrets that recent reforms have placed some restraints on the formerly absolute powers of his class to abuse their inferiors; recalling just recently he had one peasant poniarded in his very bedroom for "professing some insolent delicacy respecting his daughter". Charles Darnay, by contrast, hopes to honor his mother’s dying wish by ameliorating the wrongs the family has caused. When his uncle laughs at this, Charles renounces his rights to the Evrémonde title and lands, in favor of a new life in London. His uncle, slyly, already knows that this "new life" includes an emigree doctor and his daughter.
They retire for the night.
Death of the Marquis and aftermath[edit]
At the conclusion of Chapter 9, the Marquis is found stabbed to death in his bed. “The Gorgon had surveyed the building again in the night, and had added the one stone face waiting for two hundred years." (Chapter 9). All of his property is inherited by Darnay, who remains in London but instructs an agent to redress grievances as far as possible in the growing confusion of the pending revolution.
A year later Gaspard, assassin of the Marquis and father of the child ridden down by his carriage, is captured and executed, his body left hanging above the village water fountain. Subsequently the Evrémonde chateau is burned to the ground at night by "Jacques" revolutionaries while the abused villagers watch in grim silence and the officers of a neighboring royal garrison stand helpless because they know that their troops will probably no longer obey their orders.
Only later in the novel, during the trial of Charles Darnay, is the secret of the Marquis and his brother exposed: Alexandre Manette's diary from the Bastille details how in 1767 the Evrémonde brothers {the younger initially helped by the elder} had abducted and abused a pregnant peasant wife causing her death, fatally wounded her brother who tried to protect her and had brought about the deaths of both the girl's husband and father as well. Manette tries to alert the authorities to the Evrémonde crimes but his letter is passed on to the aristocratic brothers. This was the reason he was imprisoned in the Bastille; likewise this was the inspiration of a lifelong hatred of the Evrémondes by the last member of the wronged girl's family-her sister Madame Defarge who married Manette's servant Ernest Defarge.
Names[edit]
The Marquis St. Evrémonde is referred to as "Monseigneur" and "Monsieur." These three different titles all refer to the same person: people who are below the Marquis in rank refer to him as "Monseigneur" or "Monsieur," while people of equal rank refer to him as the "Marquis."
Note also that the patronym "Evrémonde", suggests an Anglo-French conglomerate, ("every" plus "tout le monde"). Phonetically, it sounds like “Everyman.”
The note on the knife in the Marquis chest is signed "Jacques"; a common nickname used by the aristocracy for the peasant was "Jacques Goodman".
Cinematic and Theatrical Portrayals[edit]
In the 2008 Broadway musical adaptation of 'A Tale of Two Cities,' the Marquis St. Evrémonde is played by Les Minski, while on film he has been played by such actors as Basil Rathbone, Christopher Lee, and Max Adrian. In 2003, the Rathbone portrayal of St. Evrémonde was nominated for AFI's 100 Years...100 Heroes and Villains as one of the Top 50 Villains.[2]
References[edit]
Jump up ^ Dickens 2003, (Book 2, Chapter 7).
Jump up ^ AFI's 100 Years...100 Heroes and Villains Nominees
[hide]
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Charles Dickens' A Tale of Two Cities
Characters
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Miss Pross
Marquis St. Evrémonde
John Barsad
Jerry Cruncher
Stryver
The Seamstress
Film
A Tale of Two Cities (1911)
A Tale of Two Cities (1917)
A Tale of Two Cities (1922)
The Only Way (1927)
A Tale of Two Cities (1935)
A Tale of Two Cities (1958)
A Tale of Two Cities (1980)
Musicals
Two Cities (2006)
A Tale of Two Cities (2007)
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The Last Time I Saw Paris
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the film. For the song, see The Last Time I Saw Paris (song).
For the 1942 book, see Elliot Paul.
The Last Time I Saw Paris
Theatrical release poster
Directed by
Richard Brooks
Produced by
Jack Cummings
Screenplay by
Julius J. Epstein
Philip G. Epstein
Richard Brooks
Based on
Babylon Revisited
1931 story
The Saturday Evening Post
by F. Scott Fitzgerald
Starring
Elizabeth Taylor
Van Johnson
Walter Pidgeon
Donna Reed
Eva Gabor
Kurt Kasznar
Music by
Conrad Salinger
Cinematography
Joseph Ruttenberg
Edited by
John D. Dunning
Distributed by
Metro-Goldwyn-Mayer
Release date
November 18, 1954 (1954-11-18)
Running time
116 minutes
Country
United States
Language
English
Budget
$1,960,000[1]
Box office
$4,940,000[1]
The Last Time I Saw Paris is a 1954 romantic drama made by Metro-Goldwyn-Mayer.[2][3] It is loosely based on F. Scott Fitzgerald's short story "Babylon Revisited." It was directed by Richard Brooks, produced by Jack Cummings and filmed on locations in Paris and the MGM backlot. The screenplay was by Julius J. Epstein, Philip G. Epstein and Richard Brooks.
The film starred Elizabeth Taylor and Van Johnson in his last role for MGM, with Walter Pidgeon, Donna Reed, Eva Gabor, Kurt Kasznar, George Dolenz, Sandy Descher, Odette, and (a then-unknown) Roger Moore in his Hollywood debut. The film's title song, by composer Jerome Kern and lyricist Oscar Hammerstein II, was already a classic when the movie was made and inspired the movie's title. Though the song had already won an Oscar after its film debut in 1941's Lady Be Good, it is featured much more prominently in The Last Time I Saw Paris. It can be heard in many scenes, either being sung by Odette or being played as an instrumental.
The film was released in 1954; however, there was an error with the Roman numerals in the copyright notice showing "MCMXLIV" (1944), meaning the term of copyright started 10 years before the film was released.[4] Thus, the normal 28-year copyright term ended just 18 years after the film was released, and MGM neglected to renew it presumably because they believed there was still 10 years left in the term.[4] The film entered the public domain in the United States in 1972.[4]
Contents
[hide]
1 Plot
2 Cast
3 Reception
4 Box office
5 Accolades
6 References
7 External links
Plot[edit]
As World War II ends in Europe, Stars and Stripes journalist Charles Wills (Van Johnson) is on the streets of Paris, covering the celebrations. He is suddenly grabbed by a beautiful woman, who kisses him and disappears. Charles follows the crowd to Café Dhingo and meets another pretty woman named Marion Ellswirth (Donna Reed). The mutual attraction is instant and she invites him to join her father's celebration of the end of the war in Europe. Charles, Marion and her persistent French suitor Claude Matine (George Dolenz) arrive at the Ellswirth household, and we find that the woman who had kissed Charles is Marion's younger sister Helen (Elizabeth Taylor).
Their father, James Ellswirth (Walter Pidgeon), had survived World War I and promptly joined the Lost Generation. Unlike most drifters, he never grew out of it; raising his two daughters to desire such a lifestyle. Helen takes after her father and uses her beauty to sustain a life of luxury even though they are flat broke. Marion goes the other way and looks for serious-minded and conventional young men such as Claude, an aspiring prosecutor, and Charles, the future novelist.
Charles and Helen fall in love and start dating. After Helen recovers from a near-death case of pneumonia, they get married and settle in Paris. James good-naturedly joins the happy family of Charles, with Helen eventually having a daughter Vickie (Sandy Descher). Marion, having lost Charles to Helen, agrees to marry Claude. Charles struggles to make ends meet with his meagre salary, unsuccessfully works on his novels and looks after Vickie.
At about this time, the barren oil fields in Texas James had bought years before finally begin to produce. Charles, to whom James had given the oil fields as a dowry, quits his job, and Helen and James begin to host parties instead of going to them. Sudden wealth changes Helen, who becomes more responsible, while Charles parties his wealth away after quitting his newspaper job and having all his novels rejected by publishers. They also each start to pursue other interests: Helen flirts with handsome tennis player Paul Lane (Roger Moore), while Charles competes in a local Paris-to-Monte Carlo race with professional divorcee Lorraine Quarl (Eva Gabor).
After the race Charles returns to Paris, only to find Helen sitting in Café Dhingo with Paul. A fight breaks out between Paul and Charles, and an angry Charles goes home first and puts the chain on the door, preventing it from being opened all the way. When Helen comes home and tries to enter she can't. She calls out to him, but Charles is in a drunken stupor on the staircase and we hear the bottle drop from his hands as Helen calls. Helen ends up having to walk all the way to her sister's in the snow and rain. She catches pneumonia again and dies.
Marion petitions for and gets full custody of Vickie, while Charles returns home to America. A few years later, having straightened himself out, published a book, and stopped boozing, Charles returns to Paris, hoping his reform will persuade Marion to give Vickie back to him. Charles tells Marion that he only has one drink a day now. Marion refuses, still feeling resentful towards Charles having fallen for Helen instead of her, and for him being responsible for Helen's death. Seeing that Charles and Vickie belong together, Claude steps in and tells Marion that she is punishing Charles for his not realizing that Marion loved him, but marrying Helen instead, and the penalty for it is taking away the only thing he had left---his own daughter. Claude asks Marion to accept him and wanting their own child out of love and not out of defeat (as a result of Charles allowing Helen to die).
Marion goes into Café Dhingo (on whose main wall is a big picture of Helen) to look for Charles (who is gazing at the painting) and tells him that Helen would not have wanted him to be alone. Outside the cafe, Claude is with Vickie. The child runs to Charles and Charles and the child walk off together as the movie ends.
Cast[edit]
Source: The New York Times[5]
Taylor as Helen Ellswirth.
Elizabeth Taylor as Helen Ellswirth
Van Johnson as Charles Wills
Walter Pidgeon as James Ellswirth
Donna Reed as Marion Ellswirth
Eva Gabor as Lorraine Quarl
Kurt Kasznar as Maurice
George Dolenz as Claude Matine
Roger Moore as Paul
Sandy Descher as Vicki
Celia Lovsky as Mama
Peter Leeds as Barney
John Doucette as Campbell
Odette Myrtil as Singer
Matt Moore as Englishman (uncredited)
Reception[edit]
“ Where Fitzgerald did it in a few words—in a few subtle phrases that evoked a reckless era of golden dissipation toward the end of the Twenties' boom—Richard Brooks, who directed this picture after polishing up an Epstein-brothers' script, has done it in a nigh two-hour assembly of bistro balderdash and lush, romantic scenes. ”
— Bosley Crowther[5]
At the time of the film's release, Variety called it an "engrossing romantic drama."[2] According to Bosley Crowther, "The story is trite. The motivations are thin. The writing is glossy and pedestrian. The acting is pretty much forced. Mr. Johnson as the husband is too bumptious when happy and too dreary when drunk; Miss Taylor as the wife is delectable, but she is also occasionally quite dull. Mr. Pidgeon is elaborately devilish, Sandra Descher as the child is over-cute, Donna Reed as the bitter sister is vapid and several others are in the same vein."[5]
In 2011, The Time Out Film Guide said "Despite a very corny script from Julius and Philip Epstein which borrows clichés from Casablanca and countless "American in Paris" yarns, this remains an enjoyable (if heavy-handed) melodrama....Pidgeon steals the show as ... a penniless chancer who still manages to live the good life."[6]
Box office[edit]
According to MGM records the film earned $2,635,000 in the US and Canada and $2,305,000 elsewhere, resulting in a profit of $980,000.[1]
Accolades[edit]
The film is recognized by American Film Institute in these lists:
2002: AFI's 100 Years...100 Passions – Nominated[7]
References[edit]
^ Jump up to: a b c The Eddie Mannix Ledger, Los Angeles: Margaret Herrick Library, Center for Motion Picture Study .
^ Jump up to: a b "The Last Time I Saw Paris". Variety. November 3, 1954. p. 6. Retrieved 2011-08-31.
Jump up ^ Harrison's Reports film review; November 6, 1954, page 178.
^ Jump up to: a b c "Copyright Registration and Renewal Information Chart and Web Site". Retrieved June 7, 2012.
^ Jump up to: a b c Crowther, Bosley (November 19, 1954). "Capitol's Film Inspired by Fitzgerald Story". The New York Times. Retrieved 2011-08-31.
Jump up ^ "Capitol's Film Inspired by Fitzgerald Story". Time Out. Retrieved 2011-08-31.
Jump up ^ "AFI's 100 Years...100 Passions Nominees" (PDF). Retrieved 2016-08-19.
External links[edit]
Wikimedia Commons has media related to The Last Time I Saw Paris.
The Last Time I Saw Paris from Turner Classic Movies
The Last Time I Saw Paris is available for free download at the Internet Archive
The Last Time I Saw Paris on IMDb
The Last Time I Saw Paris at AllMovie
The Last Time I Saw Paris at the American Film Institute Catalog
The Last Time I Saw Paris complete film on YouTube
[hide]
v
t
e
Films directed by Richard Brooks
Crisis (1950)
The Light Touch (1951)
Deadline - U.S.A. (1952)
Battle Circus (1953)
Take the High Ground! (1953)
Flame and the Flesh (1954)
The Last Time I Saw Paris (1954)
Blackboard Jungle (1955)
The Last Hunt (1956)
The Catered Affair (1956)
Something of Value (1957)
The Brothers Karamazov (1958)
Cat on a Hot Tin Roof (1958)
Elmer Gantry (1960)
Sweet Bird of Youth (1962)
Lord Jim (1965)
The Professionals (1966)
In Cold Blood (1967)
The Happy Ending (1969)
$ (1971)
Bite the Bullet (1975)
Looking for Mr. Goodbar (1977)
Wrong Is Right (1982)
Fever Pitch (1985)
Retrieved from "https://en.wikipedia.org/w/index.php?title=The_Last_Time_I_Saw_Paris&oldid=799040863"
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