[Quick Summary: Famous French muckraking journalist Emile Zola gets involved when an army soldier is sentenced for treason that it is really a political cover up.]
Q: Who is Emile Zola?
A: In the latter 1800s, he rose from poverty to become a celebrated French novelist and journalist.
Q: Besides his novels, what is he best known for?
A: His involvement in the Dreyfus Affair (approx.1894-1906).
Q: What was the Dreyfus Affair about?
A: Dreyfus was a Jewish army captain who was jailed for treason. Dreyfus's brother had proof of an army cover up, and asked Zola to help him get the case reopened.
Q: Why was the scene below your favorite one from the script?
A: Zola was older and didn't want to get involved. I particularly liked the scene below because it captures the swing of emotions as he changed his mind.
In the scene below:
- Dreyfus's brother has just pled his case and left, discouraged.
- The famous artist Paul Cezanne had given his old school friend Zola a portrait of his younger self, when they were both hungrier and more political.
- Note how the portrait is a touchstone. It reminds Zola of his youthful ideals, which were shown earlier in the script.
- Notice the sequence in the change of emotions: First we SEE Zola's upset first --> He sees the portrait and remembers --> Then we SEE him write the open letter that will turn the tide for Dreyfus.
And now ZOLA restlessly, angrily pacing, in dreadful turmoil, picks up the portfolio of evidence. He riffles it through as he walks up and down before the fire. Then the view drawing close, the curiously lifelike eyes of Cezanne's portrait on the mantel seem to follow his movements. With a sudden savage gesture he raises the portfolio to hurl it from him, but as he does his eyes suddenly catch the calm, gazing portrait eyes of Cezanne, and Zola's gesture abruptly is halted. He stares, fascinated, at the picture and slowly his arm drops before that mute but terrible accusation. He straightens suddenly, looks at the portfolio, then again at the portrait of Cezanne, and all indecision, all anger, are washed from his face. His hand reaches out --he touches the picture frame with a gesture at once tender and reassuring.
ZOLA turns, with the portfolio in his hand, and walks purposefully across the room and into his study. He sits at his desk and swiftly empties the portfolio of evidence before him and examines it, a close view showing him now scanning the document with intent interest, then reaching for paper and pen. He dips his pen in the ink, and the view moves down to the SHEET OF PAPER as Zola's hand, with the pen, pauses for a moment, then -- with a bold, decisive movement -- begins to write:
"M. Felix Faure, President of the Republic..."
WHAT I'VE LEARNED: One cannot jump from upset --> immediately into a change in behavior.
One must first show his tussle of emotions --> The portrait that sparked his memories of his younger, fiery self --> Then show the change of decision.
Why? Audiences don't simply want to know what WHAT happened; they need to know WHY. The portrait helps explain WHY he changed his mind.
The Life of Emile Zola (1937)
by Heinz Herald, Geza Herczeg, & Norman Reilly Raine
Story by Heinz Herald and Geza Herczeg
Based on the book Zola and His Time, by Matthew Josephson
*Interestingly, this script was Oscar nominated for both story and script, but only won in the latter category.
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