movie on its own. But, since so little French history of the nineteen-thirties is provided, it's likely to send you flying to the library.... Despite its mystifications, Stavisky is one of the most rewarding films I've seen this year—and also one of the most intelligent." Robert Benayoun, Resnais's commentator and friend, writing some years later, felt that his intentions in the film had been widely misunderstood, especially by those who looked for a politically engaged analysis of a crucial period in French history and found instead a retreat into nostalgia. For Benayoun, Resnais had seen in Stavisky a Faustian archetype, haunted by visions of his oncoming death, who fights to hold on to his 'empire' ("Alexander the Great"), resorting to every kind of illusion and delusion to gain more time for himself. The kaleidoscopic method of the narrative, its theatricality and romanticism provided the director with exactly the tools to represent the dazzling and elusive career of this "sublime crook". He concluded that Stavisky was perhaps one of the films in which Resnais had engaged himself most personally. Another critic took up the theme of theatricality in identifying the true subject of the film, as well as linking it to the political background: "It is not a portrait of Stavisky, but of the rôle he sought to play. It is not a study of character, but of a performance. It is not an image of reality, but the analysis of an illusion. By starting precisely from these 'false appearances' which Resnais can liken to those of the pre-war political establishment, what he speaks of here is quite simply the death of an era whose false splendours will be lifted, like a curtain in the theatre, upon the outbreak of fascism in Europe and the Second World War." Stavisky made Monte Hellman’s top-10 list in the 2012 Sight & Sound polls of the greatest films ever made. Awards For his role as Baron Raoul, Charles Boyer was given a special tribute by the jury at the 1974 Cannes Film Festival. He also won a Best Supporting Actor award from the New York Film Critics Circle. It was his last appearance in a French film. The film was nominated for Best Foreign Language Film by the U.S. National Board of Review. Title Resnais's preferred title for the film was Biarritz-Bonheur, referring to the department store which symbolised a certain luxury lifestyle seen