Sous les toits de Paris (1930)
Directed by René Clair

Comedy / Musical / Romance
aka: Under the Roofs of Paris

Film Review

Abstract picture representing Sous les toits de Paris (1930)
In common with many of his contemporaries of the late 1920s, director René Clair was apprehensive about the impending transition from silent to sound cinema, and this is apparent in his first sound film, Sous les toit de Paris. Although the film has a number of scenes with recorded dialogue, it is essentially a silent film to which sound elements have been added in a rather tentative and somewhat piecemeal fashion.  If the sound were taken away completely, the film would probably be just as effective in telling its story, although it would undoubtedly lose some of its charm.

Notwithstanding its tentative use of sound, Sous les toits de Paris is a beguiling film that ranks as one of Clair's finest achievements as it evokes not only the era in which it was made but also the soul of the City of Lights.  In its day, the film was hugely popular - in fact, one of the most successful French films of the 1930s.  Through its realistic sets and inspired photography, its sympathetic working class heroes and melodious street songs, it transports us to a place and time far from our own, where life appears so much more innocent and good-natured.

There is an aura of romance and optimism, of youth and gaiety, that pervades Sous les toits de Paris, perhaps more intensely than any other film of this era.  The characters we see are poor, ordinary folk living humdrum lives in drab living quarters, but Clair brings a striking sense of poetry to this milieu.  His very distinctive style, which achieves an effortless marriage of romanticism and naturalism, presages the poetic realist trend that would prevail in French cinema throughout the decade to come.  There has probably been no filmmaker in the history of cinema who has captured the true spirit of Paris, the City of Lights, more vividly in his films than René Clair.

The credits for Sous les toits de Paris includes an impressive set of luminaries who should be known to any serious French film enthusiast. Playing the part of Albert's friend Louis is a young Edmond T. Gréville, just before he embarked his own highly successful filmmaking career.   Clair's assistant director on this film was none other than Georges Lacombe, who would also become a notable film director, as would his editor René Le Hénaff.
© James Travers 2008
The above content is owned by filmsdefrance.com and must not be copied.
Next René Clair film:
À nous la liberté (1931)

Film Synopsis

In a working class district of Paris in 1930, a young man named Albert makes a modest living as a street singer.  One day, he meets an attractive young Rumanian woman, Pola, and instantly falls in love with her.  Pola is equally taken with Albert and agrees to move into his cramped lodgings, although this is partly to escape the attentions of another avid admirer, the villainous Fred.  When the police discover stolen goods in his room, Albert is arrested and sent to prison.  He is cleared and released several days later, only to learn that Pola has switched her attentions to his best friend, Louis...
© James Travers
The above content is owned by filmsdefrance.com and must not be copied.


Film Credits

  • Director: René Clair
  • Script: René Clair
  • Cinematographer: Georges Périnal, Georges Raulet
  • Music: Raoul Moretti, Vincent Scotto
  • Cast: Albert Préjean (Albert), Pola Illéry (Pola, a Roumanian girl), Edmond T. Gréville (Louis, Albert's friend), Bill Bocket (Bill, The Big Boss), Gaston Modot (Fred, a purse thief), Raymond Aimos (Un gars du milieu), Thomy Bourdelle (François), Paul Ollivier (Drunkard), Jane Pierson (Fat Woman with Purse)
  • Country: France
  • Language: French / Romanian
  • Support: Black and White
  • Runtime: 96 min
  • Aka: Under the Roofs of Paris

The best of American film noir
sb-img-9
In the 1940s, the shadowy, skewed visual style of 1920s German expressionism was taken up by directors of American thrillers and psychological dramas, creating that distinctive film noir look.
The very best fantasy films in French cinema
sb-img-30
Whilst the horror genre is under-represented in French cinema, there are still a fair number of weird and wonderful forays into the realms of fantasy.
The very best of Italian cinema
sb-img-23
Fellini, Visconti, Antonioni, De Sica, Pasolini... who can resist the intoxicating charm of Italian cinema?
The very best American film comedies
sb-img-18
American film comedy had its heyday in the 1920s and '30s, but it remains an important genre and has given American cinema some of its enduring classics.
The best of Russian cinema
sb-img-24
There's far more to Russian movies than the monumental works of Sergei Eisenstein - the wondrous films of Andrei Tarkovsky for one.
 

Other things to look at


Copyright © filmsdefrance.com 1998-2024
All rights reserved



All content on this page is protected by copyright