Trilogy is worth the wait

The Fanny Trilogy

Kino, $80

The stars: Raimu, Pierre Fresnay, Orane Demazis

L’histoire: Seventy years before Peter Jackson’s Oscar-winning trilogy “The Lord of the Rings” captured the imagination of both the public and the critics, the world embraced “Marius,” “Fanny” and “Cesar,” Marcel Pagnol’s beautifully wrought romantic dramas, which spanned 20 years in the lives of its lead characters. There was Marius, a young man tending his father’s bar in Marseilles who dreams of going to sea; his larger-than-life father, Cesar; the love of his life, Fanny; and a rich sail-maker named Honore Panisse, who wants to marry Fanny despite a 30-year age difference.

The “Fanny” films, also known as the “Marseilles trilogy,” have been carefully restored for this exquisite four-disc set.

Even 70 years after their release, the films retain their immediacy. Pagnol was a writer of exceptional simplicity and beauty, and the powerful performances by some of France’s best-loved stars leap off the screen.

In the 1950s, Pagnol’s trilogy was adapted into the Broadway musical “Fanny” and then subsequently turned into the 1961 film, “Fanny,” with Leslie Caron in the title role.

Pagnol, who died in 1974, was considered a precursor to the post-World War II neo-realism movement in Italy because he took his films out of the studio onto the streets and in the countryside.

Here’s a look at the films:

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“Marius” (1931)

Pagnol had scored a huge hit on the Paris stage in 1929 with the theatrical version of “Marius.” And the original cast members repeated their roles for this enchanting film produced during the year sound films were introduced in France. Alexander Korda directed the romance, the stagiest of the trilogy. Fanny and Marius consummate their love, but realizing his unhappiness working in the bar, Fanny tells him she’s marrying Panisse so Marius can fulfill his dream of becoming a sailor.

Raimu, one of France’s natural treasures until his untimely death in 1946, is at the peak of his powers as Marius’ father, Cesar; and Fresnay, best known for his work in Renoir’s “Grand Illusion,” brings passion and eroticism to his role as Marius.

“Fanny” (1932)

Marc Allegret takes over the directorial duties for the luminous second installment.

This time around, Fanny has discovered she is pregnant with Marius’ child. Her mother, a fishmonger, wants to kick her out of the house for the shame she is bringing to the family. But the good-hearted Panisse, who always wanted a child, happily agrees to marry her.

Marius, unaware he is a father, returns to Marseilles a year later to marry Fanny but is sent away by Cesar, who fears his presence will cause Fanny more unhappiness.

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“Cesar” (1936)

Pagnol directed the final film in his trilogy set 20 years after “Marius.” Panisse dies, but not before the priest tells him and Fanny that they should let their son know that Panisse is not his real father.

After Fanny’s son learns the true identity of his father, he secretly sets out to find Marius, whom he learns from Cesar operates a car garage at a nearby town.

The extras

Each disc features commentary from Pagnol culled from vintage audio interviews; a rather dull documentary; filmographies; a Pagnol biography; posters and stills galleries; and a gallery of original promotion material.