French Cinema_A Critical Filmography: Volume 1, 1929-1939
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This invaluable resource by one of the world’s leading experts in French cinema presents a coherent overview of French cinema in the 20th century and its place and function in French society. Each filmography includes 101 films listed chronologically (Volume 1: 1929–1939 and Volume 2: 1940–1958) and provides accessible points of entry into the remarkable world of 20th-century French cinema. All entries contain a list of cast members and characters, production details, an overview of the film's cultural and historical significance, and a critical summary of the film's plot and narrative structure. Each volume includes an appendix listing rewards earned and an extensive reference list for further reading and research. A third volume, covering the period 1958–1974, is forthcoming.
the elegant lifestyle of the grande bourgeoisie to which her marriage has provided access both with prison life and with the louche night-club life of “the people”: smoke-filled bars, music halls, and thugs on the lookout for a fast buck. Geneviève Guillaume-Grimaud provides a useful summary of the actuality behind these films (and others, notably the abrupt outburst at the end of Richebé’s next film, La Tradition de minuit). She lists a series of journalistic reports in the preceding decade on
government of Wulschleger, Henry Les Dégourdis de la 11e Wyler, William Les Yeux noirs youth films Zéro de conduite (Vigo) Zola, Émile Zouzou (Allégret) COLIN CRISP is a leading scholar in French film history and author of The Classic French Cinema, 1930–1960 (IUP, 1993), and Genre, Myth, and Convention in the French Cinema, 1929–1939 (IUP, 2002). In this new series of filmographies, he aims to introduce the wider public to the range and richness of the films produced by the French
left-wing Popular Front under Léon Blum came to power in the crisis year of 1936, but the progressive disaffection that accompanied its three years in power, even among those who initially supported it, together with the fact that Blum himself was of Jewish extraction, ensured that political controversy would persist right through to the declaration of war in 1939. Then after six months of “phony” war, the disastrous collapse of the French Army in 1940 and the ensuing occupation would make for
Delaître (Sergeant Berthier), Pierre Labry (Bouffioux), Geo Laby (Belin), J. F. Martial (Lemoine), René Montis (Morache), Marc Valbel (Maroux), Charles Vanel (Corporal Breval), Gabriel Gabrio (Sulphart), and Jean Galland. In 1930, both Georg-Wilhelm Pabst’s Westfront 18 and Lewis Milestone’s All Quiet on the Western Front appeared. Although made in the United States, this latter film was based on the German novel, so both films represented World War I from a German point of view. Since Abel
b&w Dir Julien Duvivier; Asst dir Robert Vernay; Prod Paris-Films Productions; Scr Henri Jeanson, from the novel by Detective Ashelbé; Cinematog Jules Kruger and Marc Fossard; Music Vincent Scotto and Mohammed Yguerbuchen; Art dir Jacques Krauss; Sound Antoine Archaimbaud; Edit Marguerite Beaugé; Act Jean Gabin (Pépé le Moko), Mireille Balin (Gaby), Lucas Gridoux (Inspector Slimane), Line Noro (Inès), Fernand Charpin (Régis), Saturnin Fabre (Grandfather), Gabriel Gabrio (Carlos), Marcel Dalio