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Newspaper Article
'Knock': If it talks like a doc PARIS / THEATER
2002
Overview
Knock arrives in the small town of Saint-Maurice to take over the practice of the aging Dr. Parpalaid. The older man is large and affable, though not humble, showing off his fancy car (in need of a doctor itself) and his large and loud wife. Parpalaid's practice is no gift, however, as he informs Knock that no one is ever very sick in Saint-Maurice. This is a one-man play. Everything turns on the terrifying energy and organization of Knock and on his con man's ability to talk absolute nonsense with intense and maniacal conviction, thus reducing an entire town into grateful and frightened patients. [Fabrice Luchini] as Knock is tightly wound and diabolical, and it's surprising how well his weird facial expressions, so crucial to his film performances, register even with the greater distance of a stage audience. Here are the mock-horrified eyes, here the hyena smile, here the unbelieving but always condescending tilt of the head. We are in the presence of a madman, and we know he's going to win. \"Knock\" was fantastically successful in 1923, and has been regularly revived and filmed. Despite [Louis Jouvet]'s prolific career, his incarnation of Knock is probably the role for which he is best remembered, and no one ever mentions Knock without mentioning Jouvet. It has been a tough act to follow for every actor and director since.
Publisher
New York Times Company
Subject
