Zaza (1938)

Is the third time the charm? Zaza, a fairly typical tale of passion and betrayal set in France during the Belle Époque period, had already been filmed twice by the time director George Cukor undertook the project in 1938. The first screen treatment dated back to 1915 and starred Pauline Frederick as the rough-around-the-edges, devil-may-care music hall performer who falls in love with a sophisticated diplomat. Eight years later in 1923, Gloria Swanson put her exotic spin on the role opposite H.B. Warner, who would notably play Jesus Christ four years later in the first and best version of King of Kings and be forever remembered as the grief-stricken pharmacist who slaps a juvenile George Bailey on his bad ear in It's a Wonderful Life.

Fifteen years after that, Paramount decided it was time to give Zaza another go-around. The studio intended to cast Italian actress Isa Miranda as the titular heroine, but at the last minute bestowed the part on the more bankable Claudette Colbert. (Devastated by the snub, Miranda would eventually make her own version of Zaza in Italy in 1944.) With Cukor steering the ship, this Zaza sails ethereally along, exuding elegance, artistry, and the kind of heartbreaking sensitivity that made Cukor the premier director of women's pictures during Hollywood's Golden Age. Though it never rises above other weepies in its class, Zaza is a solid entry in a cluttered genre and deserving of more respect than it's gotten over the years.

The beautiful, sultry Zaza leads a nomadic existence, traveling the French countryside with her theatrical partner and manager Cascart (Bert Lahr), devoted maid Nathalie (Constance Collier), and boozy, blowsy, avaricious stepmother Anais (Helen Westley). An army of men compete for Zaza's attention and it's clear she's dallied with several, but there's something about French diplomat Dufresne (Herbert Marshall) that touches Zaza's heart. The two meet by chance at a train station, and an innocent flirtation makes a deep impression on them both.

Though Dufresne initially resists Zaza's considerable charms, fearing he might fall wildly in love with her, he finally gives in to his desires. The two begin an intense affair, but their blissful liaison hits a snag when rumors surface about another woman in Dufresne's life. Could he be married and might he also have a young daughter? Zaza is determined to find out, but not prepared for what she discovers.

A light-hearted, frivolous tone pervades the film's first half, as Zaza deals with the pressures of performing, spars with a rival diva (Genevieve Tobin), and finesses the strong personalities of her support team, but the narrative takes a decidedly dramatic turn during its last act. Pathos supplants comedy in the literate script by Zoë Akins, who wrote the Pulitzer Prize-winning play The Old Maid (which became a successful 1939 film with Bette Davis and Miriam Hopkins) and screenplay for Garbo's Camille, yet Cukor makes the tricky transition seamless. Sadly, the censors toned down most of Zaza's racier elements, making this version of the story arguably the tamest of the three.

What it lacks in iniquity, though, it makes up for in opulence. Zaza beautifully captures the turn-of-the-20th-century period flavor with its meticulously appointed sets and an array of wildly ornate costumes by the incomparable, eight-time Oscar-winner Edith Head, who shockingly wouldn't earn the first of her 35(!!!) Academy Award nominations until a decade later. She certainly deserved one for her work here. Even if the storyline isn't your cup of tea, Zaza is lovely to look at.

It's also very well acted, like almost of all of Cukor's movies. Colbert can play drama and comedy in her sleep, but in Zaza she adds some delightfully bawdy accents to her usual refined portrayal, embracing the character's lack of breeding and headstrong attitude. She also sings for herself in a throaty contralto very reminiscent of her Paramount colleague Marlene Dietrich and acquits herself well during the burlesque numbers...no small feat when your stage partner is Lahr, a vaudeville veteran whose very next film (The Wizard of Oz) would make him a cinema icon. 

Lahr's surprisingly tender, unmannered performance is a revelation, considering most of his film work feels like a variation on the Cowardly Lion. The always marvelous Mr. Marshall plays the dignified, distinguished diplomat with aplomb, adding a layer of intrigue that increases the romantic tension between him and Colbert. Westley channels her inner Marie Dressler in her free-wheeling portrayal of Zaza's money-grubbing, booze-hungry stepmom, while the underrated Collier supplies more spice as Zaza's sullen yet unfailingly loyal maid. The captivating child actress Ann Todd (not to be confused with the stately, mature British actress of the same name who starred in Hitchcock's The Paradine Case) plays a pivotal part in her film debut and the inimitable Monty Woolley turns up briefly at the end of the movie.

Zaza doesn't rise to stratospheric heights, but it's a solid film that does everything well. Its understated ending strikes just the right tone and fittingly closes the first chapter of Cukor's career. His next movie would be the deliciously catty romp The Women, which would pave the way for an MGM contract and a litany of classic films. Zaza often gets forgotten in discussions of Cukor's - and Colbert's - work, but it deserves a fresh look and will surely please fans of both of these Golden Age giants.

Vital Disc Stats: The Blu-ray
The 1938 version of Zaza arrives on Blu-ray packaged in a standard case. Video codec is 1080p/AVC MPEG-4 and audio is DTS-HD Master Audio 2.0 mono. Once the disc is inserted into the player, the static menu without music immediately pops up; no previews or promos precede it.

Though no clean-up has been performed on the source material, Universal has managed to supply a pleasing 1080p/AVC MPEG-4 transfer that boasts excellent clarity and contrast and a fair amount of depth. The film's most arresting visual aspect is the array of lavish costumes designed by Edith Head. The sequins sparkle and shimmer and even the wispiest feathers on enormous plumes are crystal clear. The film's original grain structure remains intact, providing a lovely celluloid feel and allowing us to fully appreciate the lush cinematography of Oscar-winner and 18-time nominee Charles Lang. Rich blacks, bright, stable whites, and a healthy grayscale produce a detailed image that's peppered with sharp, glamorous close-ups that highlight facial hair, sweat, tears, and Colbert's impeccable complexion.

Sadly, print damage is present throughout. Nicks, scratches, a few blotches, and some general wear-and-tear mar, but don't ruin, the viewing experience. There are some clean stretches, and the underlying image is vibrant and fairly crisp, but the imperfections can be distracting at times, and that's a shame. Still, it's hard to imagine Zaza looking any better than it does here.

The video may not have been spruced up, but the audio has certainly been remastered. The DTS-HD Master Audio 2.0 mono track outputs well-balanced, clear sound that helps immerse us in the period atmosphere. A wide dynamic scale easily handles the highs and lows of the romantic music score, which exudes a lovely depth of tone. The backstage hustle and bustle never overpowers the dialogue, which is easily comprehendible throughout, and no age-related hiss, pops, or crackle intrude. It's just too bad the picture doesn't look as good as the audio sounds. 

No supplements whatsoever are included on the disc, not even a trailer.

Oo-la-la. The 1938 version of Zaza may not be trés magnifique, but it's definitely trés jolie and provides a showcase for Colbert, who infuses her portrayal of an amoral music hall performer with plenty of joie de vivre. Cukor's sensitive direction also elevates this engrossing romantic drama that's been given new life on Blu-ray by Universal. Despite considerable print damage, the transfer is clear and vibrant, and the remastered audio sounds great. Colbert and Cukor fans will certainly want to add this rarity to their collection. Recommended. 

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