ALTERNATIVES IN THE SOUND ERA
FRANCE 1930-1945: POETIC REALISM, THE
POPULAR FRONT, & THE OCCUPATION
2 important influences on French films of 1930-40s• FRENCH IMPRESSIONISM (1918-28)
– Natural locations, working class, humanistic– CINEMATOGRAPHY (POV shots, superimpositions,
soft focus, irises & masks) & EDITING (rhythmic, rapid montage)
• FRENCH SURREALISM (1924-29)– Designed to offend middle, upper class audiences– Constructed their films as dreams
• END OF MOVEMENTS– Sound brought conservatism, safe, middle-of-the-
road narrative films
THE EARLY SOUND YEARS (1928-34) • No patents for sound; paid royalties to
Western Electric & Tobis-Klangfilm• Consolidated into 2 “super-studios,”
Gaumont & Pathé– Eliminated many independent studios– Big studios controlled by bankers & industrialists
• Foreign film powers exploited French market– Paramount formed French Paramount– Germany's Tobis studio made films in France– Both had bigger markets, were better financed
Jean Vigo
• Roots in the avant-garde• Made films with Dziga Vertov's
brother, Boris Kaufman• A Propos de Nice (1930): silent,
avant-garde documentary
Jean Vigo
• Zéro de conduite (Zero for Conduct, 1933): short (45 min.) about a boarding school for boys
Jean Vigo
• Zéro de conduite (Zero for Conduct, 1933)
Jean Vigo• L'Atalante (1934)
– Moody, atmospheric film about love on a dirty barge; realistic, romantic, bleak
– The 1st of the films of Poetic Realism
Jean Vigo
• L'Atalante (1934)
René Clair• Humor, social commentary &
unusual use of sound• A Nous la Liberté (Liberty is Ours,
1931): about industrialization
POETIC REALISM (1934-40)
• The influence of earlier movements– Celebrated common man & working class,
used same types of locations (cafes, taverns, etc.)
– Self-consciously ART; used symbolism, esp. erotic
• The influence of early French sound film– More emphasis on narrative
• Influenced by CHC’s narrative conventions & genres
POETIC REALISM (1934-40)
• Unlike Impressionist & early sound films, socially & politically oriented
• Sometimes made by Socialist collectives; always liberal, humanistic directors
• In large part a reaction to rise of Fascism in Europe
POETIC REALISM (1934-40)
• POPULAR FRONT PERIOD (1935-37)– 1935, liberals, radicals, Communists,
& Socialists (Popular Front) gained control of government for 2 years
– Optimistic period of filmmaking– Filmmakers participated in the
Popular Front– Films optimistic, display confidence in
the future
POETIC REALISM (1934-40)
• NATIONAL FRONT PERIOD (1937-40)– 1937, French right wing took power,
formed coalition with middle class, moderates, & Fascists
– Films more pessimistic & fatalistic; feeling that Nazism (not war) was inevitable
Jean Renoir (1894-1979)
Jean Renoir
• Son of Impressionist painter Auguste Renoir• Most important director of Poetic Realism
– Contributions to film technique & film style– Humanism
• RENOIR'S CONTRIBUTIONS TO TECHNIQUE & STYLE– THE SEQUENCE SHOT– COMPOSITION IN DEPTH– DEEP FOCUS PHOTOGRAPHY– RACK FOCUS– MOVING CAMERA
Jean Renoir
• La Chienne (1932)
Jean Renoir
• The Crime of Monsieur Lange (1935)
Jean Renoir
• La Grande Illusion (1937)
Jean Renoir
• La Grande Illusion (1937)
Jean Renoir
• The Rules of the Game (1939)
Marcel Carné & Jacques Prevert
Marcel Carné & Jacques Prevert• Carné began assistant director for René
Clair• Most important work result of
collaboration with leftist poet & screenwriter, Jacques Prevert
• 2 referred to as collective auteur of their films
• Neither achieved much critical success without the other
Marcel Carné & Jacques Prevert• Like Hollywood films, with French
influence– Studio films, not shot primarily on
locations– Collaborative efforts, with Carné
serving more as a producer than as a director
Marcel Carné & Jacques Prevert
• Le Jour se Lève (Daybreak; 1939)
Marcel Carné & Jacques Prevert
• Les Visiteurs du Soir (The Devil's Envoys; 1942)
Marcel Carné & Jacques Prevert
• Les Enfants du Paradis (Children of Paradise; 1945)
Marcel Carné & Jacques Prevert
• Les Enfants du Paradis (Children of Paradise; 1945)