Film pepe le moko jean gabin biography
•
Issue 69 | December 2013
“Come weez me to zee Casbah!”
This famous Hollywood misquote, and the amorous adventures of the animated skunk Pépé le Pew, might seem to constitute the only lasting bit of cultural fallout from Julien Duvivier’s Pépé le Moko (1937). However, this classic film resonates in much less obvious and more far-reaching ways. It stands as the place of origin of several grundläggande archetypes, not the least of which is jean Gabin himself.
The film’s international success prompted MGM to buy the American rights for it immediately. In keeping with studio policy of the time, the original was kept from American distributors while the US utgåva, Algiers (1938) was cranked out less than a year later. Such fryst vatten the strength and coherence of the original that Algiers director John Cromwell, in a rare and unusual move, is purported to have kept a copy of Pépé le Moko on a Moviola on the shooting scen so that the original’s setups and camera moves could be replicate
•
Jean Gabin
French actor
Jean Gabin | |
|---|---|
Jean Gabin as Jules Maigret in 1958 | |
| Born | Jean-Alexis Moncorgé (1904-05-17)17 May 1904 Paris, France |
| Died | 15 November 1976(1976-11-15) (aged 72) Neuilly-sur-Seine, France |
| Years active | 1923–1976 |
| Spouse(s) | Gaby Basset (1925–30) Suzanne Marguerite Jeanne Mauchain (1933–39) Dominique Fournier (1949–76) |
Jean Gabin Alexis Moncorgé (born Jean-Alexis Moncorgé), known as Jean Gabin (French:[ʒɑ̃gabɛ̃]; 17 May 1904 – 15 November 1976), was a French actor and singer. Considered a key figure in French cinema, he starred in several classic films, including Pépé le Moko (1937), La grande illusion (1937), Le Quai des brumes (1938), La bête humaine (1938), Le jour se lève (1939), and Le plaisir (1952). During his career, he twice won the Silver Bear for Best Actor from the Berlin International Film Festival and the Volpi Cup for Best Actor from the Venice Film Festival, respec
•
Straight Outta Algiers: Pépé le Moko, David Bowie, and the Representation of Working-Class Self-Transformation
Last week in my film noir colloquium, we watched Pépé le Moko (1937), the French poetic realist masterpiece about a French jewel thief holed up in the Casbah in Algiers, longing for escape.[1] The film is largely about working class self-transformation. In the Casbah, Pépé (Jean Gabin) lives like a king, enjoying wealth generated by a big jewel heist that took place in Paris two years earlier, the adoration of the other denizens of the Casbah, and the protection of his surroundings. He and the police both understand that, so long as Pépé is in the Casbah, they cannot capture him. But if he leaves the Casbah, he will be immediately imprisoned. As a result of this situation, Pépé at the start of the film is feeling trapped by the Casbah. His longing for escape grows when he meets Gaby (Mireille Balin), a wealthy and attractive French tourist fascinated by the exotic Cas