Jean Grémillon

Biography

An educated man, Jean Grémillon (b.1898) should almost be mentioned in the same breath as the big five of the golden age of the French cinema (Carné, Renoir, Duvivier, Feyder and Clair). Some of his plans never came to anything: for instance, after World War 2, only three movies, which is too few for such a man. The silent years: Grémillon's career began with documentary shorts... and ended the same way. His first effort (1923) dealt with Chartres town. Three years later came his first feature film "Maldone". One of his recurrent features is already here rebellion against the wealthy class. It's the story of a young heir who favors freedom over possessions. "Gardien De Phare" could be remade today (and its influence appears in some horror movies): Two lighthouse keepers (the father and the son) are to spend one entire month in the middle of the sea near the coasts of Brittany; flashbacks reveal us that the young man has been bitten by a rabid dog. The period of transition: his first talkie "La Petite Lise" (1930) was a melodrama; the male character was probably inspired by Hugo's Jean Valjean. "Dainah La Métisse" was some kind of murder mystery: did she jump or was she pushed? But what's extraordinary is the obvious connection with Gremillon's later work "Pattes Blanches" (1947): the murder of the bad girl (Suzy Delair) by Maurice (Michel Bouquet) on the cliff, and the white bride veil. The director himself confessed he never liked its follow-up "Pour Un sou D' Amour", not exactly class struggle. Both his Spanish movies sank without a trace. "La Dolorosa" was a musical where they sing every ten minutes; his collaboration with Luis Buñuel seemed unworthy of both men's talent: "It is odd that Luis Buñuel singled out the uninspired but decidedly above-average melodrama" (Mario Gauci). "La Valse Royale" (1935), a French-(Hitlerian) Germany co-production did nothing to rectify Gremilllon's stature: "light-hearted gallantry" best described this old-fashioned, poorly written story with some hints at the French Revolution. The golden years: From "Gueule d'Amour" (1937) onward, Grémillon would never produce anything mediocre. This 1937 work was the stuff Gabin's legend was made, his part of a legionnaire who experimented tragedy. "L'Etrange Monsieur Victor" gave Raimu the opportunity to play, masterfully, a part of a criminal. The making of "Remorques" began in 1939, but because of the occupation, was released in 1941: the banal plot mattered much less than the atmosphere; the star of the movie was the Ocean: you could hear, feel, or see it ceaselessly along the viewing. "Lumière D'Ete" (1942) pitted the men of leisure against the working class heroes. Although it was a Prévert/Laroche screenplay, the main influence here was Renoir's. All that concerned Paul Bernard's character and his fete in the castle strongly recalled "La Règle Du Jeu". Probably the center of gravity of the movie, this memorable sequence of the Farandole - while the tragedy was impending - would find an equivalent in Prévert/Carné's ending of "Les Enfants Du Paradis". Nowadays, it is generally considered Grémillon's apex. "Le Ciel est A Vous" (1943) was a beautiful movie dedicated to daring women who were feminists ahead of their time, the story of a woman who wanted to be an aviator. During the Occupation, the Petainist France set this movie up as an example of virtue and courage, against the dirty Clouzot's "le Corbeau". After the Liberation, both movies were attacked, the former for being too Petainist, the latter for showing the darkest side of the occupied country. The post-war years: Grémillon's career was never the same, although the three movies he made were very interesting. Jean Anouilh, who wrote the screenplay, was to direct "Pattes Blanches", but he fell sick and had to give it up. He chose Jean Grémillon to do the job and he was right: it included moments of desperate lyricism. In "L'Etrange Madame X" (1951), Jean Grémillon and Albert Valentin did what they did best: setting a working class milieu against the bourgeois world. His final effort, "L'Amour D'Une Femme" was beautiful but extremely sad, even lugubrious. It featured two funerals and many depressing scenes; even the love scenes were sad. When Madame Leblanc, a schoolteacher about to retire, packs her stuff. When the doctor asked herself if her work was finally worthwhile, we think of the director who probably knew it was to be his final work. During his last years he had to be content with shorts, which, for a first-class director such as him, was certainly a shame, considering the great works he could still have made. He died at 61, prematurely.