Pierre Batcheff and Stardom in 1920s French Cinema by Professor Phil Powrie, Professor Eric Rebillard

By Professor Phil Powrie, Professor Eric Rebillard

Pierre Batcheff used to be a favorite cinema celebrity of the Twenties, a French Valentino best-known to trendy audiences because the protagonist of the avant-garde vintage, Un chien andalou (1929). not like different stars, Batcheff moved inside highbrow circles, particularly the Surrealists. This biography locations the silent reveal superstar in the context of Nineteen Twenties well known cinema and its male stars. Batcheff's lifestyles exemplifies the tensions among "popular" and the "intellectual" as cinema—the topic of severe highbrow curiosity throughout Europe—became classified someplace among commercialism and "art." significant movies studied intimately comprise: Le Double amour (Epstein, 1925), Feu Mathias Pascal (L'Herbier, 1925), ?ducation de prince (Diamant-Berger, 1927), Le Joueur d'?checs (Bernard, 1927), los angeles Sir?ne des tropiques (Eti?vant and Nalpas, 1927), Les Deux timides (Clair, 1928), Un chien andalou (Bu?uel, 1929), Monte-Cristo (Fescourt, 1929), and Baroud (Ingram, 1932).

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His rejection probably had more to do with the hostile reaction to Buñuel’s L’Âge d’or in November 1930; the scandal created by the film had led to the ostracism by polite society of its wealthy aristocratic backers, the de Noailles. It is reasonable to assume that Natan, given the subversive nature of Batcheff’s screenplay alluded to in the extract above, probably did not feel that it was appropriate to make the film, despite Batcheff’s high star profile. Batcheff, given his hopes that he might make interesting films as a director rather than star in uninteresting films, was understandably devastated.

Indeed, Batcheff more generally did everything he could to undermine the image of the jeune premier. The Sannier interview is extraordinary in this respect, given that he had made his mark as a jeune premier. In this interview, he undermines that role, not just by rejecting it, but by emphasising its stupidity, in terms that recall those of Mohy above: Je ne suis pas un ‘jeune premier’. Les gens qui m’ont confié de tels rôles se sont trompés. D’ailleurs cette appellation est empruntée à un langage périmé qui, avec sa ‘mère noble’, son ‘ingénue’ et son ‘vilain’, a empêché les scénaristes de nous montrer, jusqu’à présent, autre chose que deux jeunes gens qui s’avouent leur amour dans la première partie du film, qui le voient contrarié par de ‘méchantes gens’ dans la seconde, mais dont un gros plan réunira les lèvres dans la troisième.

See Ami du peuple, Paris-Midi, 15 April 1932, or L’Intransigeant, Paris-Soir, 16 April 1932, among others. It is worth noting that Les Enfants du paradis includes a scene that was originally in the Émile-Émile screenplay: ‘la pantomime où Baptiste veut se pendre avec une corde à sauter d’enfant’ (‘the pantomime where Baptiste wants to hang himself with a kid’s skipping rope’; Pierre Prévert 1965: 54). CHAPTER 2 Stardom in the 1920s The star system in France emerged around 1910 as theatre and music-hall stars crossed over into film (Vincendeau 2000: 5), but only really took off in the 1920s with the establishment of a wide-ranging film press, and the sharp rise in cinema attendance in the mid-1920s (see Abel 1984: 49).

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