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Paris, Female Stardom, and 1930S French Cinema

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Paris, Female Stardom, and 1930S French Cinema Paris, Female Stardom, and 1930s French Cinema DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Jennifer Branlat, M.A. Graduate Program in French and Italian The Ohio State University 2012 Dissertation Committee: Prof. Judith Mayne, Advisor Prof. Jean-François Fourny Prof. Jennifer Willging Copyright by Jennifer Branlat 2012 ABSTRACT This study investigates Parisian femininity in 1930s French cinema in order to show how representations of women draw from city spaces, real or imagined, and the extent to which these images are made visible by the French star system as it reorganizes with the advent of sound. I claim that the three stars of this study, Annabella, Arletty, and Danielle Darrieux, develop distinctly Parisian star images that draw from both a past cultural tradition that eroticizes the urban lower-class woman and modern ideals concerning her independence and mobility through the urban environment. My analysis of representations of women in the films Quatorze juillet (René Clair, 1933), Hôtel du Nord (Marcel Carné, 1938), Abus de confiance and Retour à l’aube (Henri Decoin, 1937, 1938) reveals that, while archetypal figures like the midinette (shopgirl) and the prostitute are anchored in idealized images of the popular neighborhood life of the past, the appearance of a modern woman in the second half of the decade is concurrent with looking to new city spaces and experiences to tell stories about women. Solitary walking, driving, shopping, and going to the cinema, for example, are depicted as privileged moments of reflection or leisure offered to women in the public sphere. In order to account for these new possibilities for female mobility and vision, I develop a theoretical framework that engages in the critical debate on female flânerie (solitary strolling), initially developed to describe the male urban subject. Finally, these insights concerning 1930s female stardom are crucial to an understanding of post-war films in which female mobility is addressed as an integral part of public life for women. ii To my parents, and to Matthieu, Quentin and Chloé iii ACKNOWLEDGEMENTS I have become indebted to many individuals during the completion of this dissertation. Most of all, this project would not have been possible without the guidance and support of my advisor, Professor Judith Mayne, who shares a passion for Paris and the cinema. I was aided in my research by the precious materials provided by Daniel Morrissey and interviews conducted with Anne Power. José Sourillan generously provided me with access to his astounding personal archives of films and sound recordings. The primary source research for this project was conducted thanks to a Coca-Cola Critical Differences for Women grant that allowed me to travel to Paris. I would also like to that the friends and family members who helped me through what seemed like a very long process. A special thanks goes to Janine and Germain Leperd for sharing memories of films they saw during the 1930s, and to Michèle Leperd for her assistance in obtaining research materials in France. I am deeply grateful to Amelia Smith who kindly lent her apartment at different times during this project and who was always a good sport during our numerous flâneries in Paris. Judy and Rodney Hild deserve more thanks that I can give. Finally, my deepest gratitute to Matthieu for his unconditional support and for watching countless films from the 1930s. iv VITA November 10, 1977 ....................... Born in Columbus, Ohio (USA) 2000 ................................................. B.A., French, Miami University (Oxford, OH) 2003 ................................................. D.E.S.S., Library Science, Ecole nationale supérieure des sciences de l’information et des bibliothèques (Lyon, France) 2007 ................................................. M.A. French, The Ohio State University 2006 – 2012 ..................................... Graduate Teaching Associate, Department of French and Italian, The Ohio State University Fields of Study Major Field: French and Italian Specialization in French Film Studies Minor Field: Twentieth-Century French Literature Minor Field: French Culture v TABLE OF CONTENTS Abstract...........................................................................................................................................ii Acknowledgements .....................................................................................................................iv Vita .................................................................................................................................................. v Table of contents...........................................................................................................................vi List of Tables ...............................................................................................................................viii List of Figures ............................................................................................................................... ix Introduction................................................................................................................................... 1 CHAPTER 1 Women and the City in 1930s Paris ............................................................. 10 1. 1. The 1930s Imagined City............................................................................................................ 10 1. 2. The Question of Gender and City Spaces................................................................................ 15 1. 3. Parisian Working-Class Femininity: the Midinette and the Prostitute ................................ 21 1. 4. The Flâneur, the Flâneuse, Flânerie.......................................................................................... 26 CHAPTER 2 Canal Diva: Arletty and Milieu in the Film Hôtel du Nord .................... 30 2. 1. An Unconventional Star............................................................................................................. 32 2. 2. Early Stage Career in the Parisian Music-Hall ....................................................................... 37 2. 3. Cinema and the Femme Légère ................................................................................................... 41 2. 4. Hôtel du Nord and the Desire for Mobility............................................................................... 47 CHAPTER 3 Idealizing the Faubourg: Annabella and Quatorze juillet...................... 71 3. 1. The Midinette .............................................................................................................................. 74 3. 2. L’équipage and the modern woman .......................................................................................... 85 3. 3. A parisienne in Hollywood......................................................................................................... 89 3. 4. The Popular Heroine of Quatorze juillet................................................................................... 94 CHAPTER 4 Danielle Darrieux and Female Flânerie.................................................... 111 4. 1. Physical and Social Mobility: Re-examining Darrieux’s 1930s Star Image ...................... 112 4. 2. Un mauvais garçon and the Pleasure of the Automobile...................................................... 122 4. 3. From the Latin Quarter to the Boulevard: Female Flânerie in Abus de confiance ............. 130 4. 4. Cinderella Derailed: Retour à l’aube and the Urban Fairy Tale........................................... 140 Conclusion................................................................................................................................. 148 vi Bibliography.............................................................................................................................. 153 vii LIST OF TABLES Table 1. Solo and couple shots in the film Hôtel du Nord....................................................... 62 viii LIST OF FIGURES Figure 1 - La Grisette de 1830, Square Jules Ferry, Paris / Author’s image. ...................... 21 Figure 2 - Arletty and Jouvet halfway across the footbridge in the film Hôtel du Nord.... 30 Figure 3 - The façade of the real Hôtel du Nord in Paris / Author’s image. ..................... 50 Figure 4 - Close-up of Arletty from the film Hôtel du Nord................................................... 62 Figure 5 - First view of Madame Raymonde in Hôtel du Nord.............................................. 63 Figure 6 - Quatorze juillet (René Clair, 1933): Anna remembers the Bastille Day festivities. ................................................................................................................................................ 71 Figure 7 - Film poster for L’équipage (Anatole Litvak, 1935). ................................................ 85 Figure 8 - Film poster for Anne-Marie....................................................................................... 87 Figure 9 - The staircase in Quatorze juillet and Ménilmontant as signifier of the faubourg. ................................................................................................................................................ 96 Figure 10 - Working-class itinerant vendor, Anna, stands in front of the department store window. .....................................................................................................................
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