La Cinématographie française (May - Aug 1937)

rxxxxxxxxxxxxxxxxxxxxxx? cime n< RAPHIE SE 179 ♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦♦ eomedy, directed by Pierre Colombier, with Elvire Popesco and Jules Berry. PORTE-VEINE. — A eomedy, with Lucien Baroux, directed by André Berthomieu. 9 " L'ALIBI. — A draina by Marcel Achard. directed by Pierre Chenal, with Erich von Stroheim, Albert Préjean and Jany Holt. PLANS FOR PRODUCTION OF THE SECOND HALF OF 1937 At the présent time, French producers are working hard on préparation of new films, which will be brought before the caméras in the near future. There are many films announced. The main ones are : La Sonate à Kreutzer, by Tolstoï, The Puritan, by Liam O'Flaherty, author of The Informer, Travail (Labour), by Emile Zola; .4 inan in revolt, by Maurice Larrouy; Humeurs, an original story by Simon GentilIon; Alexandra, by Lucie Delarue-Mardrus; French-Cancan, in which Danielle Darrieux will star; Sarjevo, by Joseph Kessel; Naples au baiser de feu, starring Tino Rossi, and Viviane Romance; Mollenard, by O.-P. Gilbert; Nuits de Prince, by Joseph Kessel; Yamilé sous les Cèdres, by Henry Bordeaux, of the French Academy, which will be made entirely in Syria. A woman in the' Storm. which will be produced in Dalmatia. Eeole de joie, directed, by Léonide Moguy, a film on French youth. The Joyless street. . .Father Serge, Life of Jean Jaurès, The Cheat (Forfaiture) a talking version of the famous silent film, with Sessue Yayakawa. L'empreinte de Dieu, by Maxence van Der Meersch, The Master of silence, by Jacques de Baroncelli, The Lyons' mail; The Lafarge Case; S.O.S. Titanic; Volpone. La Marseillaise bv Jean Renoir, etc.. NEW TRENDS OF FRENCH PRODUCTION One can see, by the long enumeration, above, that the French production of 1937 will be the most important, ever. What is important to notice is that small stories, local films, vulgar farces, military sketches, etc., are, little by lit t le being abandoned by French producers, in favor of deeper subjects of more interest and capable of entertaining world audiences. Another characteristic of the French production is the high number of films of which the majority of scènes hâve been Victor Francen et Camille Bert dans Feu, un film de Jacques de Baroncelli made on location. Soinaliland and the Red Sea for Les secrets de la Mer Rouge; Alsace, for La grande illusion; Italy and the Alps for Un Carnei de Bal; Morocco for Feu, L'Escadrille de la Chance, and Les Hommes sans noms; Algiers for Sarati le Terrible; Switzerland for Le mensonge de Nina Petrovna; the Sahara for Légions d'honneur; Belgium for Sœurs d'armes; Bulgaria, Switzerland, Austria and Corsica for La Bataille silencieuse, etc. If weil established French directors, such as Jean Renoir, Julien Duvivier, Jean Benoit Lévy, Raymond Bernard, Marcel Lherbier, Léon Poirier, André Berthomieu, are carring on their work, there is now an outstanding team of new and young French directors : Marcel Carné (Jenng, Drôle de drame), Richard Pottier (Les secrets de la Mer Rouge), Pierre Chenal {L'homme de nulle pari. Alibi), Pierre Billon (Courrier Sud, La Bataille silencieuse), Marc Allégret (Sous les yeux de l'Occident, Gribouille). New French stars are coming into their own, while young French stars, such as Annabella, Danielle Darrieux, and Georges Rigaud are being claimed by Hollywood. New talents are growing up in the French studios : Nadine Vogel (in Drôle de drame). Jacqueline Laurent ('-^ Sarati le terrible). Michèle Morgan (in Gribouille) and adresses such as Viviane Romance, Mireille Balin (the beautiful young star of Pépé le Moko), and Junie Astor. French production lias acquired its own Personal and particular character. French production is typical : La grande illusion, Pépé le Moko, Les perles de la Couronne are the best examples. R is interesling to note that, for the first time, since January lst, the number of French films shown in France bas increased by 33 ',, while the number of foreign films shown during the saint' period, has decreased by 30 ',. The revival of French films which started two years ago has been accomplished and the French Cinéma now stands secure. The International value of the best French films cannot be discussed. In spite of many difficulties, independent French Producers hâve achieved a marvellous programme of films which will go ail the world over. There will be about 130 to 140 French films produced in 1937. We can forsee that half of this number will be of excellent vaine for foreign countries Never, since pre-war days, has French Production had such an opporiunity of provins* its worth! - Pierre Autre. EN FRANGE APPAREILS I NSTALLES BROCKUSS-SIMPLEX.S.A. 6,rue guillaume-tell.PARIS (i7<) carnot 99-50^51