Unusually for Alain Resnais he has opted for the superficial here and by his own admission has gone for 'theatricality'. It cannot fail to look good with Sacha Vierny behind the camera and Jacques Saulnier as designer but beneath the glitz, the glamour and Stephen Sondheim's trite score, we are left with a vapid and empty exercise. Should 'style over substance' appeal then this is definitely your tasse de thé.
The director was reluctant to entitle this piece 'The Stavisky Affair' as this would presumably have obliged him to show the far-reaching consequences, both political and economic, that resulted from Stavisky's massive stock swindle. He has however chosen to insert a bizarre sub-plot involving the exiled Leon Trotsky which contributes nothing whatsoever dramatically and merely serves to advertise Monsieur Resnais' leftist credentials.
Stavisky himself was a sociopathic, narcissistic con-man, the type that proliferates in the murky world of Finance, but is here played by Jean-Paul Belmondo, always mindful of his image, as a gentleman thief. He is very, very good in the role but Jorge Semprún's script renders him little more than a cipher. The same might apply to the other insubstantial and shadowy characters, played by Francois Périer, Michel Lonsdale, a beautifully costumed Anny Duperey and a singularly creepy Claude Rich.
The most fully drawn character is Baron Jean Raoul, not least because he is portrayed by the splendid Charles Boyer who simply saunters away with the film. This represesents a dawn in the careers of Gérard Depardieu and Nils Arestrup but alas a sunset in that of Monsieur Boyer. The passing of this immaculate, consummate artiste marked the end of an era.
The director was reluctant to entitle this piece 'The Stavisky Affair' as this would presumably have obliged him to show the far-reaching consequences, both political and economic, that resulted from Stavisky's massive stock swindle. He has however chosen to insert a bizarre sub-plot involving the exiled Leon Trotsky which contributes nothing whatsoever dramatically and merely serves to advertise Monsieur Resnais' leftist credentials.
Stavisky himself was a sociopathic, narcissistic con-man, the type that proliferates in the murky world of Finance, but is here played by Jean-Paul Belmondo, always mindful of his image, as a gentleman thief. He is very, very good in the role but Jorge Semprún's script renders him little more than a cipher. The same might apply to the other insubstantial and shadowy characters, played by Francois Périer, Michel Lonsdale, a beautifully costumed Anny Duperey and a singularly creepy Claude Rich.
The most fully drawn character is Baron Jean Raoul, not least because he is portrayed by the splendid Charles Boyer who simply saunters away with the film. This represesents a dawn in the careers of Gérard Depardieu and Nils Arestrup but alas a sunset in that of Monsieur Boyer. The passing of this immaculate, consummate artiste marked the end of an era.