I like the storyline of this show,it attract me so much

the audience applauded

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

Joshua Logan's film of "Fanny" began life as Marcel Pagnol's Marseilles Trilogy, (Fanny, Marius and Cesar, the three films that made up that trilogy), later condensed to a Broadway musical which Logan directed. This film version arrived in 1961, keeping the musical's structure but minus the (not particularly memorable) songs and it's a sentimental triumph. It's set in Marseilles and tells the story of Fanny, the 18 year old daughter of a fish-seller, Marius, the boy she loves, Cesar, Marius' father and Panisse, the old sail-maker who marries Fanny to give her illegitimate child by Marius, a name after Marius has gone off to sea, unaware that he is to be a father.For this version Logan was canny enough to cast Charles Boyer as Cesar, Maurice Chevallier as Panisse and Leslie Caron as Fanny and a largely French supporting cast. The German-born Horst Buchholz is Marius and although he never sounds French, for once he doesn't disgrace himself. However, Caron, Boyer and especially Chevallier are outstanding. Boyer picked up an Oscar nomination for Best Actor though personally I think it should have gone to a hardly ever better Chevallier. Caron, too, was unlucky enough to miss out on a Best Actress nomination although the film was nominated for Best Picture.I've always felt Logan was among the most underrated of great American directors, (Truffaut was a big fan). He worked largely in musicals and melodramas but never achieved the critical adulation heaped on Minnelli; not that he was ever in Minnelli's class. Still, he produced some sterling work, if no actual masterpieces. "Fanny", long unseen, is definitely one of his best films.

I have been reading all these raves about this movie which I just saw on TMC this morning, 11/4/10, and thought I would write my thoughts. Certainly felt there was an overuse-age of the same song over and over again. I kept asking myself could not the composer think of another? What was with all the close ups? We can see a person's expression without a head shot filling the screen. Leslie Caron wasn't dancing with Gene Kelley and Horst Buchholz wasn't following the other '6" in the Magnificent 7. I liked him better in that movie than this one. There was the 2 older actors, Charles Boyer and Chevalier who I suppose were passing the reins onto the younger generation they were pleasant enough but the reins never passed as both of the actors never did much after this movie, unless you liked Father Goose or How the West was Won.Bottom line is its about a small village, a teenage one night stand that turns into a nightmare when she finds out she is pregnant. Basically after she let's him follow his dream, her mother, his father and the local rich man keep the 'secret' by a quick marriage and a 'pre-mature' birthing which made the rich man's family very happy. Of course you could not get away with that nowadays, someone would be screaming for a DNA testing. It's really just a soap opera in Technicolor, why an R rating? I have no clue, it should have been a PG-13. There was no bad language, no violence, no nudity and sex was mildly implied compared to today's standards. The only thing I could think of is it gives the impression that if a girl gets pregnant and her boyfriend heads out she can still get support for her child without government getting involved. Actually, I like that idea but it only happens in the movies so don't try this at home.

Joshua Logan's heavy direction is the main thing holding down this pleasing French-ish romp in Marseilles (I think) with Leslie Caron, Maurice Chevalier, and Charles Boyer. Fanny is a fishmonger's daughter on a giant wharf where Chevalier and Boyer are among the semi-decrepit café denizens who spend all their time playing cards and putting bricks under hats in the middle of the street to see people walk by and kick it. Horst Buscholtz is Marius, the son of Cesar (Boyer), tired of working the bar and ready for a life of adventure at sea but at the same time madly in love with Fanny (Caron).This is a very nice looking movie, gorgeous photography all the time but somehow lacking in contrast. Logan works in only two shades -- bright daylight and darkest night. Likewise his actors are directed to play everything either at the bottom or highest decibels. But the acting is definitely the main thing to watch in the movie, especially Boyer's studied performance of a man who's fundamentally proud and compromised at the same time. Caron gets to play some really adult scenes which is a pleasant change. Chevalier is a lot of fun, really convincing in the character as he always is when playing these sort of genial horn-dogs. But Horst Buscholtz, now he is a piece of work. I don't know if he was uncomfortable with the language or what, but he did not give a very good performance in my opinion, much too earnest so that some of his big moments became laughable. But there is a kind of grounded quality about him that I like.The story is a bunch of claptrap as far as I could tell, creaky even at the time when this movie was made. It's melodrama played for as much as melodrama's worth on its basic level, with the big sacrifice at the end and everything. Since there's no hint of irony about any of the proceedings, this film enters into the strange kind of territory occupied by other films like Charles Vidor's "The Swan" that seem to have been made for the audience of 30 years before. Maybe they were; maybe enough middle-aged or older people still went to the theater in the late 50s/early 60s to make a movie profitable. But I'm not sure if it wasn't just a sort of dying trend that people were trying to keep alive. Still, I like this movie in a lot of ways more than some of the feeble "revolutionary" movies that came out a few years later. I just think if there's a middle ground between classic and modern, this film did not try to find it. It's a pleasing relic, but that's all it's really ever been I think. Still, the charm of these performers finding good chemistry in the characters over-rides the stale treatment and makes it appealingly old-fashioned if you're in the mood for that kind of thing.

This story of a young Frenchman, Marius, who makes an anguished decision to pursue his personal passion for sailing the open seas at the expense of foregoing the love of the beautiful Fanny (Leslie Caron) would have played well as a straight drama, but it is undermined by scenes hardly worthy of a situation comedy. This is unfortunate since there are quality actors on board and some truly dramatic scenes.Consider the game that the older folks play while sitting outside Marius' father's bar. They set out a large rock and cover it with a hat and wait for passersby to kick it. For one thing I don't think it is a normal reaction to want to kick a hat that is sitting alone on a busy sidewalk. Secondly, serious injury could result if someone were so inclined to kick it. The poor priest who took the bait is seen limping off after his experience - I felt sorry for him and irritated with the perpetrators who found this so humorous. It is astonishing how many things are wrong with that scene, but the main problem is that it sets an inappropriate tone for what is to come. This low tone is continued in the scene where the seventy-year-old Maurice Chevallier puts the moves on the young Caron provoking a melodramatic response of jealousy in Marius - that scene indeed could come right out of a situation comedy, as could so many others. In spite of the significant themes that are to come we get the feeling that nothing serious is really going on here.We very quickly arrive at the crucial scene where Marius decides to sign on to a seagoing scientific ship for a five year tour. This just after he and Fanny have consummated their love on the previous night. This key scene is poorly motivated - we have little appreciation for Marius' passion for the sea and a minimal understanding of the relationship between Marius and Fanny. There might as well just have been a voice-over saying that Marius loved both the sea and Fanny.There are many plot inconsistencies. In one of the final scenes Marius is called on an emergency mission while at work as a grease monkey. He arrives dressed in a suit.Meaningful themes are dealt with such as the relationships between parents and children, conflicting desires, difficult decisions, pragmatism versus passion, friendship, failure to communicate, and sacrifice. Great material whose potential is only occasionally realized.The filming is quite beautiful. There is one scene that lingers in the mind that has the young lovers embracing in an alleyway lighted by an amber street-lamp. The Marseille setting is used to great effect and probably has accounted for some increased tourism.Leslie Caron alone makes this worth the time and it *is* fun to see Charles Boyer and Maurice Chevalier play off each other. Horst Bucholz was a handsome young man - quite a shock to see him thirty-six years later in "Life is Beautiful." No one escapes the effects of aging.