This article examines the work of Marcel Pagnol, and in particular his 194041 film La Fille du puisatier, both in terms of its deployment of the figure of the fallen woman and of its stylistic features within the tradition of classical French cinema, and in particular filmed
theatre. The article argues that continuities in Pagnol's film contents and mise-en-scne, as well as a comparison with Fanny and Angle (and to a lesser extent Nas), contradict readings of the film as embracing Vichy ideology, especially regarding its representation
of gender and the family. Attention is paid to performance and editing rhythm in order to consider both the historicity of the film and its place within a continuum of French classical cinema.
Studies in French Cinema is the only journal published in English devoted exclusively to French cinema, providing scholars, teachers and students from around the world with a consistent quality of academic investigation across the full breadth of the subject. Contributors scrutinise the cultural context of various works and the diverse stylistic approaches that infuse the visual fabric of this genre.