BBC Radio 4, 13 June 2009
Set in Paris in 1894, J'Accuse looked at the famous Dreyfus
case from the point of view of Louis, a right-wing Parisian (Mark Heap), who did not perceive the eponymous Dreyfus as a martyr,
but rather as a threat (on account of his Jewishness) to the stability of nineteenth century French society. Dreyfus' struggles
were set against the plight of Louis himself, a struggling writer endeavouring to make his way yet perpetually denied by one
major shortcoming - a pronounced lack of talent. But does talent tammter in a world dominated by prejudice and snap judgements?
Far better to compensate for one's inadequacies by criticizing others, particularly when the object of Louis' scorn was both
a Jew and an army officer (i.e. a member of a 'regular' profession guaranteeing both security and future happiness). J'Accuse
was not so much about the Dreyfus case, but rather pointed an accusing finger at those who exploited the affair for their
own ends.
Naylor created an insular world in which Louis believed himself to be both intellectually
and socially superior to everyone else. He dominated his partner Dominique (Kathryn Hunt), while making pronouncements on
anything that took his fancy. The fact that such pronouncements were supremely self-indulgent did not matter: Louis believed
himself to be a major focus of attention. Naylor contrasted his complacency with the sufferings of Dreyfus himself (Paul Mundell)
- a basically decent man victimized by a racist society. Although determined to defend himself, Dreyfus' morale was gradually
eroded as he came to terms with the fact that no one wanted to talk to him any more; even when he did speak, most of his statements
were deliverately misquoted or misunderstood. As a Jew, he was made the scapegoat for all of the city's social and political
problems.
Although set in the late 1890s, J'Accuse showed how racism - especially
anti-semitism - is as much inspired by fear of the other, as the desire to confirm one's social and ethnic superiority. Invariably
it is inspired by ignorance, as well as a desire to preserve the status quo, even if that status quo is
fundamentally decadent. Mark Heap tried his best to endear himself as the dilettante Louis - a strategy which rendered him
more sinister, as we understood the extent to which he could influence public opinion in Parisian society. The director of
this uncomfortable Saturday Play was Pauline Harris.
