Just so...so bad

I really don't get the hype.

Good , But It Is Overrated By Some

In other words,this film is a surreal ride.

"Carnival in Flanders" (1935) is both an elaborate historic period film, and a clever comedy. The costumes and sets were inspired by Flemish Renaissance paintings.Set in the year 1616, the Spanish army plans to invade the Flemish town of Boom. Most of the men hide. However, the women of Boom, led by the burgomaster's wife Cornelia, protect their village by using their feminine charm and hospitality. Cornelia invites the handsome Spanish duke and his officers to a fancy banquet at the burgomaster's house. There is also a festival with music, song and folk dance at the local inn for the soldiers. The dialog is witty and clever.There is a subplot of a romance between the burgomaster's daughter Siska, and her painter boyfriend. Her boyfriend is Jan Brueghel the Younger, who was an actual Flemish painter.The costumes and sets reflect the art of various Flemish Renaissance painters. Each scene in the film looks like a Flemish painting. The scenes are similar to the paintings of Jan Brueghel the Elder, Jan Brueghel the Younger, Pieter Brueghel the Elder, Frans Hals, Jacob Jordaens, Johannes Vermeer, and other artists.The village of Boom is very picturesque, with a canal, windmills and historic buildings with towers. There are some lovely scenes of boats on the canal in the moonlight.The costumes are extravagant. The wealthy men and women wear black clothes with large white ruffs around the neck. The peasant women wear native folk dress with caps.The film has a cast of hundreds. In one scene, the women of Boom graciously welcome the Spanish army, who arrive on horseback in a long procession. The army is led by drummers, and the soldiers wear gleaming armor.This is a witty, artistic film. It won numerous awards. I hope a DVD is released soon.

A classic of French pre-War cinema, Carnival in Flanders by the great Jacques Feyder is the most devious and cruel satire you might ever come across. Set in early 17th-century Flanders, which had previously been under Spanish rule, the story opens with shots of a busy village preparing for the yearly carnival, when the news break that the Spanish Duke Olivares and his troops plan to stay in town. At the prospect of looting and raping militia men, the flabby mayor of the well-to-do provincial nest called Boom volunteers, as he puts it, "to sacrifice" himself: his plan to pretend he has just passed away, thus hoping to convince Olivares to bypass the mourning town, is eagerly adopted by his timorous menfolk. But while the males go about staging the mock funeral, the women, led by the mayor's energetic wife, take over the action and, in turn, decide to "sacrifice" themselves to the soldiers. What follows is a grand tale of sexual libertinage and deception with a "happy end" of sorts where virtually no-one is redeemed. (The original title, La Kermesse héroïque, literally The Heroic Fête, operates in much the same way as Milos Forman's early satirical masterpiece, The Fireman's Ball, 1967, and the parallels are numerous; no doubt Forman had taken a second look at Feyder's Kermesse during his studies.) What immediately strikes one today is Feyder's directness in exposing his characters' human flaws, which is hardly subdued by the general satirical tone. The way adultery, homosexuality and eroticism but also greed, cowardice and deceit are depicted leaves one speechless at times, and certainly wondering how political correctness and all sorts of profit policies and conservatisms have infested modern-day cinema to a point it would no longer dare think to produce anything like this. Not to speak of the 1930s Hollywood counterparts, for which Feyder would have been light years off the mark, proving the point that there was and still is such a thing as the "French cultural exception". Apart from the latent debauchery creeping out into the open from the cozy interiors of a model town, the film also has multiple strings of side puns that keep its pace up at all times – from spot-on character studies (the mayor, the artist, the butcher...) to hysterical history sidekicks (using a fork for the first time, Spaniards wondering what "beer" is, impious remarks on Dutch painting...). Most strikingly, it is a hallucinatory mockery of the Dutch and their supposed idiosyncrasies: avarice, Protestant pragmatism, self-righteous "middle-class" rule, bogus worldliness, you name it. This goes to such an extent that it has been repeatedly claimed that Feyder had intended an allegory of the Dutch's collaboration with the German occupier in WWI – and from today's perspective, one is tempted to grant it visionary power as well, since substantial parts of the Flamish-speaking population of Belgium were eager supporters of Nazi rule. This assumption makes sense once you've witnessed the cold-blooded irreverence and unmasked sarcasm Feyder uses to unmask his species, which is surpassed only (in literature) by the untouchable Molière. Clearly, all formal issues had to serve this main objective – the Vaudeville acting, the picturesque film set, the matter-of-fact filming, and not least the purpose-built dialogues. So, although you should not expect a formidably audacious experiment in film-making, you will be treated a deliciously immoral chamber piece on sexual banter and other not so politically correct behaviour. Released in 1935, it is also a cruel reminder of how conservative the world – and its cultural output – has become as of late.

This just might e the smartest black comedy (that is a matter of opinion ever made) right up there with Reoir's The Rules of the Game. A female empowerment movie, in a way it reminds one of the movie adaptation of "The Women" with bigger ideas on its mind. Made in 1935, and hailed by all critics as one of the greatest movies ever made, a position it would hold through the fifties, it is a deceptive little tale about the cowardice of men and the bravery of women. The last time the French came through, the little town of Flanders was rampaged ad plundered. News comes again that they are coming through, and the men panic, quiver and run for cover. It is the women who think up the plan to save the city As, I said smile, but very funny with the undercurrent of male an female dynamics underlining every line, phrase and action in this treat. To sum it up, it can be said that the old adage, "Behind every great man is a great woman" a perceptive and illuminating proper edifice.

A fun and charming film, but pretty forgettable. I watched it as the first part of a double feature (the second film being Mildred Pierce), and I hardly remember a thing about it. The story concerns the people of Flanders who have to deal with a Spanish invasion (the year is 1616). They are peaceful people and the Spanish are not. The mayor and other regents of the city are sure that there will be rape and bloodshed everywhere. Most of them want to flee. The mayor's wife and the other women don't like their husbands' cowardice. They try to think of a way to avoid violence. When the Spanish arrive, the men are mostly hiding and the mayor is playing dead. The women charm them. The Duke of the Spaniards is attracted to the mayor's wife. Meanwhile, there's a cute little love subplot between an artist and the mayor's daughter. Her father wants her to marry a man of higher class, but her mother perfectly loves the romantic artist. Through the film, she contrives a way for the two to get married without the mayor's approval. There are many better films to search out and watch, but if you think you've seen everything else, I guess this is okay to see. 7/10.