The Life of Emile Zola (1937)

James McLain

This film opens with a caveat that it is based on some elements in history but is not in fact a true story. Emile Zola and Paul Cezanne share

a dilapidated Parisian apartment, stuffing old clothes in the cracks and gaps of the dirty window panes. This is how just about every movie

set in Paris about struggling artists has to begin. As the film’s minutes and the plot’s months pass by Zola achieves some success with his

novels’ gritty realism. Soon Cezanne departs and Zola and his wife ease in to a life of real prosperity.

Then the Dreyfus Affair hits the press. The reason is made clear at the moment of Dreyfus’ downfall as his personal file is shown to the

audience with the word “Jew” being most prominent. High ranking staff officers accuse Dreyfus of treason and maintain their position even

after evidence arises that supports Dreyfus’ innocence. Zola seems to re-awaken from a success-laden lethargy and openly champions the

cause to free Dreyfus from Devil’s Island. Zola fails and is himself charged with libel. This final stage of the film is based on what really was a rift in

France between the Dreyfus/Zola supporters and those that backed the Army. Zola flees to London and finally finds both himself and Dreyfus

exonerated with a Staff Officer’s confession.

The pacing of the plot is deftly directed and all of the performers give it their best. Muni delivers his lines with the same fervor as usual.

Muni also appears to age in a way eerily reminiscent to his performance in the 1959 film The Last Angry Man, his final film appearance.

Joseph Schildkraut hits the bulls-eye as Dreyfus. He would later give another compelling performance in this similar vein as a concentration

camp prisoner on the Twilight Zone.

Basically the reason for the opening text on the lack of historicity is that in the film Dreyfus is reinstated in the Army the day after Zola dies

at home of carbon monoxide poisoning. The facts however point to a 1906 reinstatement of Dreyfus and a 1902 death of Zola. There are sources

that speak of the possibility that Cezanne was himself an anti-Semite and this was the reason for their rift. Still this film is clearly a 1937

statement and 1937 warning to France and Europe at large of the growing political crisis at the time. The movie makes it clear that zealous

devotion to military might leads to catastrophe. It is also clear why Paul Muni chose to do this movie. Like so many other performances,

The Life of Emile Zola offers Muni a chance to speak to issues of social justice for those wrongly accused. This film also affords the opportunity

to speak a message of hope that counters the argument that only through military might and a military beyond reproach can there be a lasting peace.