![]() Norman Rockwell with a Twist in Hitchcock's Americ.Father and Mother Were Movie Stars: Leatrice Gilbe.I hope the admiration you show for him in your post will inspire readers who haven't yet seen these films to seek them out. His screen presence was as unique and as forceful as Bogart's, and like Bogart at his best, Gabin achieved the perfect balance of toughness and sensitivity. And the comparisons to Bogart are wholly justified. But even in the 50s he returned to the top of his form with two you referred to-the wonderful noirish crime film "Touchez Pas au Grisbi" (especially interesting in that the action starts immediately AFTER the big heist, rather than detailing the heist like so many film noirs) and Renoir's delightful "French Can-Can." For me he was the greatest French actor, to French cinema what Toshiro Mifune was to Japanese cinema. His films of the 30s are one triumph for him after another. I've seen many of the films you mention, and he was just great in all of them. The Devil is a Woman (1935), directed by Josef von Sternberg, costumes by Travis BantonĮve, I was so pleased that TCM devoted a day to Gabin this year. Dietrich gave Josef von Sternberg her loyalty and credit for her career, she provided a life-long marriage and a ranch in the Valley to her husband Rudi, and she bestowed her charms on various and sundry, but it was Gabin she remembered as the great love of her life. ![]() Marlene Dietrich and Jean Gabin were romantically involved for several years in the 1940s. One of the day's not-to-be-missed highlights is the documentary Marlene Dietrich: Her Own Song (2001), the work of her grandson David Riva. Dietrich is one of those timeless luminaries of film who never ceases to fascinate, particularly in those legend-making classics of the 1930s she starred in under the direction of cinematic magician, Josef von Sternberg. His career spanned the '20s through the '70s and he died in 1976 at age 72.Įxcept for her early German films, I've seen all of Marlene Dietrich's movies many times, but I'll still be watching and recording much of her day on TCM. ![]() ![]() Solid, earthy, worldly-wise, there is understated longing in those knowing eyes, a passion for life in that working-man's frame. Gabin's screen presence and style were ideal for the films of this age. Jean Gabin was a great star of French cinema's era of “poetic realism" in the '30s and '40s. Victor is a one-time boxer, now a trainer, who has discovered a young fighter (Lesaffre) he believes he can take to the top his wife Blanche (Arletty) is less enthusiastic. Very popular in its day with audiences, though not with French critics (those enfants terrible of Cahiers du Cinema ), it is romantic and charming, with Gabin portraying Victor, a character softer than, though as blas é as Max the Liar, opposite the magnificent Arletty (of Carné’s Les Enfants du paradis, and Gabin's co-star in Carné’s La Jour se l éve ) and Roland Lesaffre ( To Catch a Thief). Marcel Carné’s L’Air de Paris is an entirely different sort of film. ![]()
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