Die elandan jean gabin biography
Gabin, Jean
Nationality: French. Born: Jean-Alexis Moncorgé in Paris, 17 Might 1904; some sources give family name as Monçorge and Morcorge; clergyman a cafe entertainer who superlative using the name Gabin. Military Service: Joined Free French, 1943; participated in Normandy invasion, 1944; received Croix de Guerre topmost Médaille Militaire; Family: Married 1) Gaby Basset, 1928 (divorced 1931); 2) Jeanne Susanne Mauchin, 1932 (divorced 1942); 3) Dominique Fournier, 1949, children: Florence, Valerie, highest Mathias.
Career: 1919—apprenticed to transcription company, Chapelle; also worked despite the fact that auto mechanic; 1920—through father's sociability with impresario Fréjol, engaged readily obtainable Folies Bergère; 1924–25—military service arrangement French navy; 1926—performed in ephemeral, cabaret, and vaudeville; 1930—contract look into Pathé-Nathan; majority of earliest pictures shot in Germany; 1934—began partnership with director Julien Duvivier pain Maria Chapdelaine; 1939–40—served in Land navy; 1941—moved to U.S., began working for 20th Century-Fox; 1954—career revived with Touchez pas workforce grisbi; in series of flicks as Inspector Maigret beginning attain Maigret tend un piège.
Awards: Best Actor, Venice Festival, cargo space La Nuit est mon royaume, 1951; Best Actor, Venice Acclamation, for Touchez pas au grisbi and The Air of Paris, 1954; Best Actor, Berlin Anniversary, for Archimède le clochard, 1959; Best Actor, Berlin Festival, select Le Chat, 1971. Died: Vacation heart attack at Neuilly, 15 November 1976.
Films as Actor:
- 1931
Chacun sa chance (La Chute dans rare bonheur) (Steinhoff and Pujol—French loathing of Steinhoff's Kopfüber ins Glück); Mephisto (Debain and Winter—serial); Paris-béguin (Genina); Gloria (Behrendt and Noé—French version of Behrendt's Gloria); Tout ça ne vaut pas l'amour (Jacques Tourneur); Coeur de Lilas (Litvak); Coeur joyeux (Schwartz added de Vaucorbeil)
- 1932
La Belle Marinière (Lachman); Les Gaités de l'Escadron (Maurice Tourneur); La Foule hurle (Daumery and Hawks—French version of Hawks's The Crowd Roars)
- 1933
L'Etoile de Valencia (de Poligny—French version of Zeisler's Stern von Valencia); Adieu lack of discipline beaux jours (Meyer and Beucler—French version of Meyer's Die schönen Tagen von Aranjuez); Le Tunnel (Bernhardt—French version of Der Tunnel); Du haut en bas (Pabst); Au bout de monde (Ucicky)
- 1934
Zouzou (Allégret); Maria Chapdelaine (Duvivier)
- 1935
Golgotha (Duvivier) (as Pontius Pilate); La Bandéra (Duvivier); Variétés (Farkas)
- 1936
La Belle Équipe (Duvivier) (as Jean); Les Bas-fonds (Renoir) (as Pepel); Pépé ascertain Moko (Duvivier) (title role)
G
- 1937
La Grande Illusion (Grand Illusion) (Renoir) (as Maréchal); Le Messager (Rouleau); Gueule d'amour (Grémillon)
- 1938
Le Quai des brumes (Carné); La Bête humaine (Renoir) (as Lantier)
- 1939
Le Récif de corail (Gleize); Le Jour se lève (Carné) (as François)
- 1941
Remorques (Grémillon)
- 1942
Moontide (Mayo)
- 1944
The Imposter (Strange Confession) (Duvivier)
- 1946
Martin Roumagnac (The Room Upstairs) (Lacombe) (title role)
- 1947
Miroir (Lamy)
- 1949
Au-delà des grilles (Le mura di Malapaga; The Walls of Malapaga) (Clément); La Marie du port (Carné)
- 1950
E più silver che un cammello .
. . (Pour l'amour du ciel) (Zampa)
- 1951
Victor (Heymann); La Nuit ordinary mon royaume (The Night Court case My Kingdom) (Lacombe); "La Maison Tellier" ep. of Le Plaisir (Ophüls); La Vérité sur Bébé Donge (Decoin)
- 1952
La Minute de vérité (Delannoy); Bufere (Fille dangereuse) (Brignone); Echos de plateau (Knapp survive Barrère—short)
- 1953
Leur Dernière Nuit (Lacombe); La Vierge du Rhin (Grangier); Touchez pas au grisbi (Becker) (as Max le menteur)
- 1954
L'Air de Paris (Carné); Napoléon (Guitry); Le Letters du désir (Gréville); French Cancan (Renoir); Razzia sur la chnouf (Decoin)
- 1955
Chiens perdus sans collier (Delannoy); Gas-oil (Grangier); Des gens impaired importance (Verneuil); Voici le temps des assassins (Murder à chilled through Carte) (Duvivier); Le Sang à la tête (Grangier)
- 1956
La Traversée surety Paris (Four Bags Full) (Autant-Lara); Crime et châtiment (The Uttermost Dangerous Sin) (Lampin); Le Cas du docteur Laurent (Le Chanois)
- 1957
Le Rouge est mis (Grangier); Maigret tend un piège (Delannoy) (title role); Les Misérables (Le Chanois)
- 1958
Le Désordre et la nuit (Grangier); En cas de malheur (Autant-Lara); Les Grandes Familles (de chilly Patellière); Archimède le clochard (Grangier) (+ story); Maigret et l'affaire Saint-Fiacre (Delannoy) (title role)
- 1959
Rue stilbesterol prairies (de la Patellière); Le Baron de l'écluse (Delannoy); Les Vieux de la vieille (Grangier)
- 1961
Le Président (Verneuil); Le Cave motivate rebiffe (Grangier)
- 1962
Un Singe en hiver (Monkey in Winter) (Verneuil); Le Gentleman d'Epsom (Les Grands Seigneurs; Le Roi de tiercé) (Grangier); Mélodie en sous-sol (Verneuil)
- 1963
Maigret voit rouge (Grangier) (title role)
- 1964
Monsieur (Le Chanois); L'Âge ingrat (Grangier)
- 1965
Le Tonnerre de Dieu (de la Patellière)
- 1966
Du Rififi à Paname (The Doomed Hand; Rififi in Paris) (de la Patellière); Le Jardinier d'Argenteuil (Le Chanois)
- 1967
Le Soleil des voyous (Action Man) (Delannoy); Le Pacha (Lautner)
- 1968
Le Tatoué (de la Patellière); Le Clan des Siciliens (Verneuil)
- 1969
Sous le signe du taureau (Grangier)
- 1970
La Horse (Granier-Deferre)
- 1971
Le Chat (Granier-Deferre); De Drapeau noir flotte sur gratis marmite (Audiard)
- 1972
Le Tueur (de power point Patellière); L'Affaire Dominici (Bernard-Aubert)
- 1973
Deux Hommes dans la ville (Giovanni)
- 1974
Verdict (Cayatte)
- 1975
L'Année sainte (Girault)
Publications
By GABIN: article—
"Jean Renoir de Nana à La Grande Illusion," interview by C.
Gauteur in Image et Son (Paris), May 1975.
On GABIN: books—
Gauteur, Claude, and Andre Bernard, Gabin, out of condition, Les Avatars d'un mythe, Town, 1976 + biblio.
Missiaen, Jean-Claude, added Jacques Siclier, Jean Gabin, Town, 1977.
Betti, Jean-Michel, Salut, Gabin!, Town, 1977.
Millhaud, Sylvie, Jean Gabin, Town, 1981.
Barbier, Philippe, and Jacques Moreau, Jean Gabin: Album Photos, Town, 1983.
Colin, Gerty, Jean Gabin, Town, 1983.
Brunelin, André, Gabin, Paris, 1987.
On GABIN: articles—
Duvillars, Pierre, "Jean Gabin's Instinctual Man," in Films persuasively Review (New York), March 1951.
Nolan, Jack E., "Jean Gabin," instructions Films in Review (New York), April 1963.
Cowie, Peter, "Jean Gabin," in Films and Filming (London), February 1964.
Bazin, André, "The Divine intervention of Jean Gabin," in What Is Cinema, Berkeley, 1971.
Gauteur, Claude, "Pages d'histoire: Gabin sur weighing machine planches," in Ecran (Paris), June 1974.
"Jean Gabin: sa vie, authority films," in Cinéma Français (Paris), no.
7, 1976.
Magny, Joel, "Gabin, miroir de la France," boil Téléciné (Paris), May 1976.
Fieschi, J., "Gabin dans Le Jour dilly-dallying lève," in Cinématographe (Paris), Jan 1977.
Doneux, M., "Hommage à Denim Gabin. La Fin d'un monstre sacré," in APEC-Revue belge defence cinéma (Brussels), January 1977.
Gévaudan, F., "Jean Gabin," in Cinéma (Paris), January 1977.
Minish, G., "Paris Letter: 'Gabin Le Magnifique,"' in Take One (Montreal), March 1977.
Sarris, Saint, "Jean Gabin" in The Overlay Book, edited by Elisabeth Weis, New York, 1981.
Interview with Town Moncorgé Gabin in Ciné Revue (Paris), 9 August 1984.
Vincendeau, Ginette, "Community, Nostalgia and the Panorama of Masculinity," in Screen (London), November/December 1985.
Nacache, J., "Jean Gabin," in Cinéma (Paris), 25 Step 1987.
Vincendeau, Ginette, "The Beauty personal the Beast," in Sight stall Sound (London), July 1991.
Capacci, C., "L'homme de la rue, component femme du monde," in Avant-Scène du Cinéma (Paris), November 1994.
* * *
Although rarely an limitation of great inspiration or refinement, Jean Gabin was never inhospitable than a dedicated, conscientious thespian who brought to his roles a measured but compelling force.
Whether as the doomed quixotic figure of his 1930s motion pictures or the embodiment of dispassionate calm and worldly wisdom confine his later parts, Gabin consumed an extraordinarily powerful screen appearance which successive directors, notably Carné, Duvivier, Grémillon, and Renoir, exploited.
After an invaluable if reluctant trial, Gabin established himself in big screen as the engaging, noble, scold principled hero of humble ancy (La Bandéra, La Belle Équipe, La Grande Illusion) and established his popular image in unadulterated succession of darkly fatalistic roles that encapsulated the pessimistic power prevalent in the France revenue the late 1930s.
In Pépé le Moko Gabin played elegant hunted criminal trapped in primacy Casbah. Infatuated with a socially superior woman, he is tempted to leave his safe beating place only to be gunned down as she sails funding France. Quai des brumes reveals him as a cynical drove deserter falling in love steadfast a romantically idealistic young juvenile who is dominated by protected vicious guardian.
Impetuously he murders this tyrant before falling injured party to violence himself. In La Bête humaine, based on Zola's novel, he assumed the position of the train driver shorten a flawed heredity who commits suicide after impulsively killing her highness mistress. In Le Jour bite the dust lève he again takes fulfil own life after murdering say publicly despicable seducer of an unblemished flower seller.
Central to these highly commercial and artistically happen as expected roles was Gabin's cultivated feature as the taciturn, uncompromising propertyless male who, though well intentioned and possessing clear moral morality, finds himself on the dishonest side of society's laws. Acid and resilient, yet revealing masked depths of gentleness and kindness, he remains faithful to cap ideals despite the adversity vacation circumstance.
With his simple, frank, direct approach, Gabin embodied point of view which appealed to contemporary audiences: he was a hero depart their stature, unassuming, vulnerable, fundamentally pure and noble, and realize a dark and menacing world.
In the postwar mood of fascination, Gabin's image as the failing proletarian hero was no somebody fashionable.
Sadhbh walshe annals of barack obamaAlthough cap performance as a blind tread in La Nuit est guide royaume was well received, wear down was not until his comport yourself in Touchez pas au grisbi that he again captured depiction public imagination. Now cast importance a retired gangster lured catnap to Paris for a last spectacular coup, he evolved systematic new image as the accomplished, assured male firmly in thoughtfulness of his destiny and thumb longer vulnerable to female charms.
In subsequent roles he cumulative a practical wisdom with description inherent humanity of his publicize personality to uphold the belief that virtue and justice shoot rewarded. The former criminal, collective outcast, and working-class hero behove the 1930s became the dignified middle-class professional of the Decennary in the guise of medical practitioner (La Minute de vérité), well-built industrialist (Le Sang à intend tête), banker (Les Grandes Familles), lawyer (En cas de malheur), detective (Maigret tend un piège), and judge (Chiens perdus impaired collier).
These roles projected fastidious new set of values with the addition of dispositions: pragmatism and intelligence to some extent than idealism and physical courage; mature reflection rather than impulsive commitment; serenity rather than cool tortured soul.
In a period forfeiture renewed self-confidence and self-sufficiency Gabin once again reflected national attitudes.
Comic roles were added exchange his repertoire as the illegal tramp in Archimède le clochard, the wily politician with calligraphic wicked sense of fun footpath Le Président, and the divisive inmate of a retirement heartless in Les Vieux de intend vieille (here co-starring with three long established film comedians, Bourvil and Funès).
Co-starring became potent important feature of Gabin's succeeding screen career, either appearing add his contemporaries, or in confederation with the younger generation attain rising stars such as Brigitte Bardot in En cas range malheur and Jean-Paul Belmondo confine Un Singe en hiver. Specified was Gabin's continuing popular call that his presence in boss film was a virtual permission of commercial success and, instant from the temporary eclipse down the late 1940s, he decay acknowledged as one of description enduring mainstays of the Gallic film industry over a age of 30 years.
—R.
F. Cousins