24 June 2019

Jack Nicholson

In the section 'Recovered and Restored', Cinema Ritrovato presents Five Easy Pieces (1970) by Bob Rafelson. It is one of my favourite Jack Nicholson films. He became my hero when I saw him in One Flew Over the Cuckoo's Nest (1975) during high school. In both films he was the guy who rebels against the social structure. Since then he played countless anti-heroes and villains. Although Nicholson has performed in films for over sixty years now and received 12 (yes twelve!) Oscar nominations, I still have a soft spot for these two films he made in the first half of the 1970s.

Jack Nicholson
French postcard in the Collection Cinéma Couleur by Editions Le Malibran, Paris, 1989, no. MC 24. Photo: Douglas Kirkland. Caption: Jack Nicholson (1973).

Jack Nicholson in One Flew Over the Cuckoo's Nest (1975)
Spanish postcard by Foto Parjetas, Madrid, no. FC-225. Photo: Jack Nicholson in One Flew Over the Cuckoo's Nest (Miloš Forman, 1975).

Class Clown of 1954


Jack Nicholson was born in 1937 as John Joseph Nicholson in Neptune City, New Jersey. He was the son of a showgirl, June Frances Nicholson (stage name June Nilson). She married Italian-American showman Donald Furcillo (stage name Donald Rose) in 1936, before realising that he was already married.

Biographer Patrick McGilligan stated in his book 'Jack's Life' that Latvian-born Eddie King, June's manager, may have been Nicholson's biological father, rather than Furcillo. Other sources suggest June Nicholson was unsure of who the father was. As June was only seventeen years old and unmarried, her parents agreed to raise Nicholson as their own child without revealing his true parentage, and June would act as his sister.

In 1974, Time magazine researchers learned, and informed Nicholson, that his 'sister', June, was actually his mother, and his other 'sister', Lorraine, was really his aunt. By this time, both his mother and grandmother had died (in 1963 and 1970, respectively). On finding out, Nicholson said it was "a pretty dramatic event, but it wasn't what I'd call traumatizing ... I was pretty well psychologically formed".

Before starting high school, his family moved to an apartment in Spring Lake, New Jersey. When Jack was ready for high school, the family moved once more, to old-money Spring Lake, New Jersey's so-called Irish Riviera, where Ethel May set up her beauty parlour. 'Nick', as he was known to his high school friends, attended nearby Manasquan High School, where he was voted 'Class Clown' by the Class of 1954.

In 1957, Nicholson joined the California Air National Guard. After completing the Air Force's basic training, Nicholson performed weekend drills and two-week annual training as a fire fighter. Nicholson first came to Hollywood in 1954, when he was seventeen, to visit his sister. He took a job as an office worker for animators William Hanna and Joseph Barbera at the MGM cartoon studio.

He trained to be an actor with a group called the Players Ring Theater, after which time he found small parts performing on the stage and in TV soap operas. He made his film debut in a low-budget teen drama The Cry Baby Killer (Justus Addiss, 1958), playing the title role. For the following decade, Nicholson was a frequent collaborator with the film's producer, Roger Corman. Corman directed Nicholson on several occasions, most notably in The Little Shop of Horrors (Roger Corman, 1960), as masochistic dental patient and undertaker Wilbur Force, and also in The Raven (Roger Corman, 1963), The Terror (Roger Corman, 1963) as a French officer seduced by an evil ghost, and The St. Valentine's Day Massacre (Roger Corman, 1967).

Nicholson also frequently worked with director Monte Hellman on low-budget Westerns, including the cult successes Ride in the Whirlwind (Monte Hellman, 1966) with Cameron Mitchell, and The Shooting (Monte Hellman, 1966) opposite Millie Perkins. Nicholson also appeared in episodes of TV series like Dr. Kildare (1966) and The Andy Griffith Show (1966-1967).

However, Nicholson seemed resigned to a career behind the camera as a writer/director. His first real taste of writing success was the screenplay for the counterculture film The Trip (Roger Corman, 1967), which starred Peter Fonda and Dennis Hopper. Nicholson also co-wrote, with Bob Rafelson, Head (Bob Rafelson, 1968), which starred The Monkees. He also arranged the film's soundtrack. Nicholson's first turn in the director's chair was for Drive, He Said (1971).

Jack Nicholson in One Flew Over the Cuckoo's Nest (1975)
French postcard by Especially for you, no. Réf. 39. Photo: Jack Nicholson in One Flew Over the Cuckoo's Nest (Miloš Forman, 1975).

Jack Nicholson in Goin' South (1978)
French postcard by Edition Librairie Images 'In', no. H 18. Photo: Jack Nicholson in Goin' South (Jack Nicholson, 1978).

A hero of the counter-culture movement


Jack Nicholson had his acting break when a spot opened up in Easy Rider (Dennis Hopper, 1969). Nicholson played liquor-soaked lawyer George Hanson, for which he received his first Oscar nomination. The film cost only $400,000 to make, and became a blockbuster, grossing $40 million. Overnight, Nicholson became a hero of the counter-culture movement.

Nicholson was cast by Stanley Kubrick, who was impressed with his role in Easy Rider, in the part of Napoleon in a film about his life, and although production on the film commenced, the project fizzled out, partly due to a change in ownership at MGM.

Nicholson starred in Five Easy Pieces (Bob Rafelson, 1970) alongside Karen Black. Bobby Dupea, an oil rig worker, became his persona-defining role. Nicholson and Black were nominated for Academy Awards for their performances. Critics began speculating whether he might become another Marlon Brando or James Dean.

His career and income skyrocketed. Nicholson starred in Carnal Knowledge (Mike Nichols, 1971), which co-starred Art Garfunkel, Ann-Margret, and Candice Bergen. Other roles included Billy 'Bad Ass' Buddusky in The Last Detail (Hal Ashby, 1973). For his role, Nicholson won the Best Actor award at the Cannes Film Festival, and he was nominated for his third Oscar and a Golden Globe.

In 1974, Nicholson starred in Roman Polanski's majestic Film Noir Chinatown, opposite Faye Dunaway. For his role as private detective Jake Gittes, he was again nominated for Academy Award for Best Actor. The role was a major transition from the exploitation films of the previous decade.

One of Nicholson's greatest successes came with his role as Randle P. McMurphy in One Flew Over the Cuckoo's Nest (Miloš Forman, 1975). It was an adaptation of Ken Kesey's novel, and co-produced by Michael Douglas. Nicholson plays an anti-authoritarian patient at a mental hospital where he becomes an inspiring leader for the other patients. The film swept the Academy Awards with nine nominations, and won the top five, including Nicholson's first for Best Actor.

Also in that year, Nicholson starred in Michelangelo Antonioni's The Passenger (1975), which co-starred Maria Schneider. The film received good reviews and revived Antonioni's reputation as one of cinema's great directors. Nicholson took a small role in The Last Tycoon (Elia Kazan, 1976), opposite Robert De Niro. He took a less sympathetic role in Arthur Penn's Western The Missouri Breaks (1976), specifically to work with Marlon Brando.

Jack Nicholson in Batman (1989)
British postcard by Athena International, Bat, no. 11, 1989, no. 0334341. Photo: DC Comics Inc. Jack Nicholson in Batman (Tim Burton, 1989).

Jack Nicholson in Batman (1989)
French postcard by Editions Mercuri, no. 87. Photo: Jack Nicholson in Batman (Tim Burton, 1989).

The Joker


Although Jack Nicholson did not win an Oscar for Stanley Kubrick's adaptation of Stephen King's The Shining (1980), it remains one of his more significant roles. Nicholson improvised his now famous "Here's Johnny!" line, along with the scene in which he's sitting at the typewriter and unleashes his anger upon his wife after she discovers he has gone insane when she looks at his writing ("all work and no play makes Jack a dull boy" typed endlessly).

In 1982, he starred as an immigration enforcement agent in The Border (Tony Richardson, 1982, co-starring Warren Oates. Nicholson won his second Oscar, an Academy Award for Best Supporting Actor, for his role of retired astronaut Garrett Breedlove in Terms of Endearment (James L. Brooks, 1983), starring Shirley MacLaine and Debra Winger. He and MacLaine played many of their scenes in different ways, constantly testing and making adjustments.

Nicholson continued to work prolifically in the 1980s, starring in such films as The Postman Always Rings Twice (Bob Rafelson, 1981), Reds (Warren Beatty, 1981), where Nicholson portrays the writer Eugene O'Neill with a quiet intensity, Prizzi's Honor (John Huston, 1985), The Witches of Eastwick (George Miller, 1987), Broadcast News (James L. Brooks, 1987), and Ironweed (Hector Babenco, 1987) with Meryl Streep. Three Oscar nominations also followed, for Reds, Prizzi's Honor, and Ironweed.

In Batman (Tim Burton, 1989), Nicholson played the psychotic murderer and villain, the Joker. Batman creator Bob Kane personally recommended him for the role. The film was an international smash hit, and a lucrative percentage deal earned him a percentage of the box office gross estimated at $60 million to $90 million.

For his role as hot-headed Col. Nathan R. Jessup in A Few Good Men (Rob Reiner, 1992), a film about a murder in a U.S. Marine Corps unit, Nicholson received yet another Oscar nomination for Best Supporting Actor. In 1996, Nicholson collaborated once more with Batman director Tim Burton on Mars Attacks!, pulling double duty as two contrasting characters, President James Dale and Las Vegas property developer Art Land. At first, studio executives at Warner Bros. disliked the idea of killing off Nicholson's character, so Burton created two characters and killed them both off.

Not all of Nicholson's performances have been well received. He was nominated for Razzie Awards as worst actor for Man Trouble (Bob Rafelson, 1992) and Hoffa (Danny DeVito, 1992). However, Nicholson's performance in Hoffa also earned him a Golden Globe nomination.

Nicholson went on to win his next Academy Award for Best Actor in the romantic comedy As Good as It Gets (1997), his third film directed by James L. Brooks. He played Melvin Udall, a wickedly funny, mean-spirited, obsessive-compulsive novelist. His Oscar was matched with the Academy Award for Best Actress for Helen Hunt, who played a Manhattan wisecracking, single-mother waitress drawn into a love/hate friendship with Udall, a frequent diner in the restaurant. The film was a impressive box office success, grossing $314 million, which made it Nicholson's second-best-grossing film of his career, after Batman.

Jack Nicholson
British postcard by World Postcards, no. X253, 1989. Photo: Albert Watson, 1981. Caption: Jack Nicholson, Snow.

Jack Nicholson
French postcard. Caption: Jack Nicholson luminant un cigare

A return to the dark side


In About Schmidt (Alexander Payne, 2002), Nicholson portrayed a retired Omaha, Nebraska, actuary who questions his own life following his wife's death. His quietly restrained performance earned him another Oscar Nomination. In Anger Management (Peter Segal, 2003), he played an aggressive therapist assigned to help an over pacifist man (Adam Sandler).

In 2003, Nicholson also starred in Something's Gotta Give (Nancy Meyers, 2003), as an ageing playboy who falls for the mother (Diane Keaton) of his young girlfriend.

In late 2006, Nicholson marked his return to the dark side as Frank Costello, a nefarious Boston Irish Mob boss, based on Whitey Bulger who was still on the run at that time, presiding over Matt Damon and Leonardo DiCaprio in Martin Scorsese's Oscar-winning film The Departed, a remake of Andrew Lau's Mou gaan dou/Infernal Affairs (2002). The role earned Nicholson worldwide critical praise, along with various award wins and nominations, including a Golden Globe nomination.

In 2007, Nicholson co-starred with Morgan Freeman in The Bucket List (Rob Reiner, 2007). Nicholson and Freeman portrayed dying men who fulfil their list of goals. Nicholson reunited with James L. Brooks, director of Terms of Endearment, Broadcast News, and As Good as It Gets, for a supporting role as Paul Rudd's character's father in How Do You Know (2012).

It had been widely reported in subsequent years that Nicholson had retired from acting because of memory loss, but in a September 2013 Vanity Fair article, Nicholson clarified that he did not consider himself retired, merely that he was now less driven to "be out there any more". In 2015, Nicholson made a special appearance as a presenter on SNL 40, the 40th anniversary special of Saturday Night Live.

After the death of boxer Muhammad Ali in 2016, Nicholson appeared on HBO's The Fight Game with Jim Lampley for an exclusive interview about his friendship with Ali. In 2017, it was reported that Nicholson would be starring in an English-language remake of Toni Erdmann (Maren Ade, 2016) opposite Kristen Wiig, but Nicholson dropped out of the project.

Jack Nicholson has also directed three films, including The Two Jakes (1990), the sequel to Chinatown. Nicholson is one of three male actors to win three Academy Awards. He also has won six Golden Globe Awards.

He has had a number of high-profile relationships, and was married to actress Sandra Knight from 1962 until their divorce in 1968. Nicholson has five children. His eldest daughter is Jennifer Nicholson (1963), from his marriage to Knight. He has a son, Caleb James Goddard (1970) with actress Susan Anspach, and a daughter, Honey Hollman (1981) with Danish supermodel Winnie Hollman. With Rebecca Broussard, he has two children, Lorraine Nicholson (1990) and Ray Nicholson (1992). Nicholson's longest relationship was the 17 years he spent with actress Anjelica Huston; this ended when Broussard become pregnant with his child.

Jack Nicholson is the only actor to ever play the Devil, the Joker, and a werewolf.


Trailer Five Easy Pieces (Bob Rafelson, 1970). Source: ryy79 (YouTube).

Sources: Pedro Borges (IMDb), Wikipedia and IMDb.

23 June 2019

Jean Gabin, The Man With The Blue Eyes

We're in Bologna, Italy, and like every year, EFSP follows Cinema Ritrovato! One of the programmes is 'Jean Gabin, The Man With The Blue Eyes', which offers only nine out of his ninety-five performances on film, leaving out such masterpieces as La Grande illusion or Le Jour se lève which have been shown at previous editions of the festival. Jean Gabin (1904-1976) was one of the greatest stars of the European cinema. In the 1930s he became the the tragic rebel of the poetic realist film, a kind of James Dean avant la lettre. After the war Gabin was reborn as a tough anti-hero, set in his beliefs, feared and respected by all, the John Wayne of French cinema. Cinema Ritrovato shows some rarities such as Anatole Litvak’s Coeur de lilas and G.W. Pabst’s Du haut en bas, as well as forgotten works such René Clément’s Au-delà des grilles, Marcel Carné’s La Marie du port and films in which he partners with Brigitte Bardot and Simone Signoret, not to mention an inimitable performance as Georges Simenon’s Maigret. 

Jean Gabin
French postcard by Editions P.I., Paris, no. 23.

Jean Gabin in Gueule d'amour (1937)
French postcard by Editions O.P., Paris, no. 29. Photo: Star. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).

Jean Gabin
French postcard by A.N., Paris, no. 1160. Photo: Films Osso. Publicity still for Le quai des brumes/Port of Shadows (Marcel Carne, 1938).

Jean Gabin in Le jour se lève (1939)
French postcard by Edit. Chantal, Rueil (S.-O.), no, 49B. Photo: Raymond Voinquel / Sigma. Publicity still for Le jour se lève/Daybreak (Marcel Carne, 1939).

Jean Gabin
French postcard by Edition Chantal, Paris, no. 49.

Jean Gabin
French collectors card by Massilia.

From Bottom To Top


Jean Gabin was born Jean-Alexis Gabin Moncorgé in Paris, in 1904. He grew up in the village of Mériel in the Seine-et-Oise département, about 35 km north of Paris. His parents, Ferdinand Moncorgé and Hélène Petit, were entertainers, who performed in local cafés.

Jean worked as a labourer, but from an early age, entertainment was in his blood. At 18, he took a turn at the Folies-Bergère. He then appeared in revues and operettas, singing and dancing, and becoming famous for his imitation of Maurice Chevalier.

Through a chance meeting with the singer Mistinguett in 1928, he was given a spot at the Moulin-Rouge. This led to uncredited parts in two silent sketch films Ohé! Les valises/Hey! Suitcases (1928) and Les Lions/The Lions (1928) with the comic Raymond Dandy.

Two years later, he easily made the transition to sound film in the Pathé Frères production Chacun sa Chance/Everyone a chance (René Pujol, Hans Steinhoff, 1930). In this film he appeared with Gaby Basset, whom he had married in 1927.

Gabin made more than a dozen films over the next four years, including Méphisto (Henri Debain, Georges Vinter, 1930), Tout ça ne vaut pas l'amour/While it's not worth the love (Jacques Tourneur, 1931), Coeur de lilas/Lilac (Anatole Litvak, 1932), Les gaietés de l'escadron/Fun in Barracks (Maurice Tourneur, 1932), La Foule hurle (John Daumery, Howard Hawks, 1932) and Du haut en bas/From Top to Bottom (Georg Wilhelm Pabst, 1933).

He gained real recognition for his performance in Maria Chapdelaine (Julien Duvivier, 1934) starring Madeleine Renaud. Cast as a romantic hero opposite Annabella in the war drama La Bandera/Escape from Yesterday (Julien Duvivier, 1936) established Gabin as a major star.

He teamed up with Julien Duvivier again, this time in La belle équipe/They Were Five (1936) and in the highly successful Pépé le Moko (1937) that became one of the top grossing films of 1937 worldwide. Its popularity brought Gabin international recognition.

That same year, he starred in the masterpiece La grande Illusion/The Grand Illusion (Jean Renoir, 1937) an anti-war film that was a huge box office success and given universal critical acclaim, even running at a New York City theatre for an unprecedented six months.

This was followed by another one of Renoir's great successes: La bête humaine/The Human Beast (Jean Renoir, 1938), a Film Noir tragedy based on the novel by Émile Zola and starring Gabin and Simone Simon, as well as Le quai des brumes/Port of Shadows (1938) and Le jour se lève/Daybreak (1939) with Arletty, two of director Marcel Carné's most acclaimed films.

Jean Gabin in Chacun sa chance (1930)
French postcard by A.N., Paris, no. 692. Photo: Film Pathé-Natan. Publicity still for Chacun sa chance/Everyone a chance (René Pujol, Hans Steinhoff, 1930).

Jean Gabin
French postcard by Edition Chantal, Paris, no. 49. Photo: Pathé-Consortium.

Jean Gabin in La bandera (1935)
French postcard, no. 49. Photo: publicity still for La Bandera (Julien Duvivier, 1935).

Jean Gabin in Gueule d'amour (1937)
French postcard by Erpé, no. 567. Photo: Film ACE, Paris. Publicity still for Gueule d'amour/Madeleine (Jean Grémillon, 1937).

Jean Gabin, Dalio, Julien Carette, Gaston Modot and Pierre Fresnay in La grande illusion (1937)
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin. Publicity still for La grande illusion/The Grand Illusion (Jean Renoir, 1937) with Jean Gabin, Dalio, Julien Carette, Gaston Modot and Pierre Fresnay.

Marcel Dalio, Gaston Modot and Jean Gabin in La Grande Illusion (1937)
French postcard by Crépa, Editeur, Paris. Photo: Sam Lévin / Production R.A.C. Marcel Dalio, Gaston Modot and Jean Gabin in La grande illusion/The Grand Illusion (Jean Renoir, 1937).

Jean Gabin
French postcard by Edit. Chantal, Rueil, no. 49B.

Jean Gabin
French postcard by Viny, no. 12. Photo: Paris Film.

Jean Gabin
French postcard by edition Chantal, Paris, no. 49A. Photo: Paris Film Production.

Marlene


Jean Gabin was flooded with offers from Hollywood. For a time he turned them all down until the outbreak of World War II. Following the German occupation of France, he joined Jean Renoir and Julien Duvivier in the United States.

He had divorced his second wife Suzanne Mauchain in 1939, and during his time in Hollywood, Gabin began a torrid romance with film star Marlene Dietrich.

His Hollywood film career proved to be less successful: he made two films, Moon Tide (Archie Mayo, 1942) and The Impostor (Julien Duvivier, 1944), both of which were flops. Scheduled to star in an RKO film, at the last minute he demanded Dietrich be given the co-starring role. The studio refused. After Gabin remained steadfast in his demand, he was fired, and the film project was shelved.

Undaunted, he enlisted in 1943 as a tank commander in the Forces françaises libres. He earned the Médaille Militaire and a Croix de Guerre for his wartime valour fighting with the Allies in North Africa. Following D-Day, Gabin was part of the military contingent that entered a liberated Paris. Captured on film by the media is a scene where an anxious Marlene Dietrich is waiting in the crowd when she spots Gabin onboard a battle tank and rushes to him.

In 1946, Gabin was hired by Marcel Carné to star in the film, Les Portes de la Nuit/Gates of the Night, but his conduct got him fired again. He then found a French producer and director willing to cast him and Marlene Dietrich together in the box office success Martin Roumagnac/The Room Upstairs (Georges Lacombe, 1946), but their personal relationship soon ended.

After the box office failure of Miroir/Mirror (Raymond Lamy, 1947) Gabin returned to the stage, but there too, the production was a financial disaster. He was cast in the lead role of Au-Delà Des Grilles/The Walls of Malapaga (René Clément, 1949) that won the Academy Award for Best Foreign Language Film. Despite this recognition, the film did not do well at the French box office, and the next five years brought little more than repeated box office failures.

Jean Gabin
French postcard by S.E.R.P., Paris, no. 135. Photo: Studio Harcourt.

Jean Gabin
French postcard by S.E.R.P., Paris, no. 22. Photo: Studio Harcourt.

Jean Gabin
French postcard by Editions P.I., Paris, no. 1094. Offered by Les Carbones Korès 'Carboplane'. Photo: Marcel Bougureau.

Jean Gabin, Maria Félix
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, Dutch licence holder for Universum-Film Aktiengesellschaft, Berlin-Templehof, no. 1501. Photo: Serge Beauvarlet / Franco London Film, Paris. Publicity still for French Cancan (Jean Renoir, 1954) with Maria Félix.

Jean Gabin in Chiens perdus sans collier (1955)
Dutch postcard by Gebr. Spanjersberg N.V., Rotterdam, no. 2042. Photo: Pallas Film. Publicity still for Chiens perdus sans collier/The Little Rebels (Jean Delannoy, 1955).

Lemon Prize


Jean Gabin's career seemed headed for oblivion. In 1953 he was the male winner of the Lemon Prize, awarded by French journalists to the nastiest French actors. However, he made a comeback in the classic policier Touchez pas au grisbi/Don't Touch the Loot (Jacques Becker, 1954) with René Dary. His performance earned him critical acclaim, and the film was a very profitable international success.

Later, he worked once again with Jean Renoir on French Cancan (1955), with María Félix and Françoise Arnoul. Over the next twenty years, Gabin made close to 50 more films, most of them very successful commercially and critically, including many for Gafer Films, his production partnership with fellow actor Fernandel.

One of his most popular personalities was inspector Maigret from the detective novels by Georges Simenon in Maigret tend un piège/Maigret Sets a Trap (Jean Delannoy, 1958) and Maigret et l'affaire Saint-Fiacre/Maigret and the St. Fiacre Case (Jean Delannoy, 1959). But he was also able to play all other kind of people: aristocrats, farmers, thieves and managers.

With age, a new Gabin persona emerged, more solid, more self-assured, yet always human. His co-stars included French cinema stars as his good friend Lino Ventura in Razzia sur la Chnouf/Razzia (Henri Decoin, 1955), Bourvil in La traversée de Paris/The Trip Across Paris (Claude Autant-Lara, 1956), Brigitte Bardot in En cas de malheur/In Case of Adversity (Claude Autant-Lara, 1958), Jean-Paul Belmondo in Un singe en hiver/A Monkey in Winter (Henri Verneuil, 1962), Simone Signoret in Le Chat/The Cat (Pierre Granier-Deferre, 1971), and Alain Delon in Mélodie en sous-sol/Any Number Can Win (Henri Verneuil, 1963), Le Clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969), and Deux hommes dans la ville/Two Men in Town (José Giovanni, 1973).

In 1960 Gabin was made an Officier de la Légion d'honneur (officer of France's Legion of Honor). Gabin never stopped working and when death surprised him in 1976 he was still an institution for the French audience. His last film was the comedy L'Année sainte/Holy Year (Jean Girault, 1976).

Jean Gabin died in 1976 of a heart attack in the Parisian suburb of Neuilly-sur-Seine. His body was cremated and with full military honours, his ashes were dispersed into the sea from the military ship Détroyat.

Since 1949, he had been married to Dominique Fournier, who had been a mannequin for couturier Lanvin. They had three children, Valérie Moncorgé, Florence Moncorgé and Mathias Moncorgé. He had bought a sprawling farm in Normandy, and was as contented in his life as the country farmer as he was acting in front of a film camera. The Musée Jean Gabin in his native town, Mériel, contains his story and features his war and film memorabilia.

Jean Gabin
French postcard by Editions et Impressions Combier, Mâcon, no. 3. Illustration: Jean-Pierre Gillot.

Jean Gabin in Le jardinier d'Argenteuil (1966)
Romanian postcard by Casa Filmului Acin. Photo: publicity still for Le jardinier d'Argenteuil/The Gardener of Argenteuil (Jean-Paul Le Chanois, 1966).

Bernard Blier and Jean Gabin in Le cave se rebiffe (1961)
French postcard by Editions Hazan, Paris, 1991, no. 6251. Photo: publicity still for Le cave se rebiffe/Money Money Money (Gilles Grangier, 1961) with Bernard Blier.

Jean Gabin and Jean-Paul Belmondo in Un Singe en Hiver (1962)
Czech collectors card by Pressfoto, Praha (Prague), no. S 125/6, 1966. Publicity still for Un Singe en Hiver/A Monkey in Winter (Henri Verneuil, 1962) with Jean-Paul Belmondo.

Alain Delon, Jean Gabin and Lino Ventura in Le clan des Siciliens (1969)
French postcard by Finart-Print (DR), no. 304. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Alain Delon, Jean Gabin and Lino Ventura.

Lino Ventura, Jean Gabin and Alain Delon in Le clan des Siciliens (1969)
Romanian postcard by Cas Filmului Acin, no. 436. Photo: publicity still for Le clan des Siciliens/The Sicilian Clan (Henri Verneuil, 1969) with Lino Ventura and Alain Delon.

Jean Gabin in Le soleil des voyous (1967)
East-German postcard by VEB Progress Film-Vertrieb, no. 152/72. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).

Jean Gabin in Le soleil des voyous (1967)
East-German postcard by VEB Progress Film-Vertrieb, no. 2917, 1967. Photo: Unifrance Film. Publicity still for Le soleil des voyous/Leather and Nylon (Jean Delannoy, 1967).


Trailer La grande Illusion/The Grand Illusion (1937). Source: Danios 12345 (YouTube).


Trailer for French Cancan (1955). Source: BFI Trailers (YouTube).


Trailer En Cas de Malheur (1958). Source: films7story (YouTube).


Trailer Le clan des Siciliens/The Sicilian Clan (1969). Source: Dicfish (YouTube).

Sources: James Travers (Films de France), Volker Boehm (IMDb), Wikipedia, and IMDb.

22 June 2019

One hundred years ago: 1919

Ciao! We're in Bologna, Italy. Like every year, we join here the Cinema Ritrovato festival: one of the greatest film parties in the world, offering some 500 great films, masterpieces and rarities. EFSP follows the events with posts on actors and programs. We start with 'One hundred years ago: 1919', for which Ivo Blom made a selection with rare postcards with stars from the films which are shown in this section.

Richard Lund in Sir Arne's Treasure (1919)
Swedish postcard by Förlag Nordisk Konst, Stockholm, no 1078/1. Richard Lund as Sir Archi(e) in Herr Arnes pengar/Sir Arne's Treasure (Mauritz Stiller, 1919).

Lars Hanson in Sängen om den eldröda blomman (1919)
Swedish postcard by Nordisk Konst, no. 550. Photo: Svenska Biografteatern, Stockholm. Lars Hanson and Lillebil Christensen in Sängen om den eldröda blomman/The Song of the Red Flower (Mauritz Stiller, 1919).

Italia Almirante
Italia Almirante. Italian postcard by Neg. Scofione, no. 347.

Vladimir Gajdarov
Vladimir Gajdarov. Latvian (?) postcard by KLTD. Photo: May-Film.

Anita Berber
Anita Berber. German postcard by Photochemie, Berlin, no. K. 2406. Photo: Atelier Eberth, Berlin.

Conrad Veidt
Conrad Veidt. German postcard by Ross Verlag, no. 272/1, 1919-1924. Photo: Becker & Maass, Berlin.

Mary MacLaren
Mary MacLaren. British postcard in the Cinema Chat series. Photo: Transatlantic (Universal's European distribution branch).

Ruth Stonehouse
Ruth Stonehouse. British postcard. Photo: Essanay Film Manufacturing Company.

Oscar Beregi Sr.
Oscar Beregi Sr. German postcard by NPG, no. 1275 Photo: Angelo, Budapest, 1918.

Fritz Kortner
Fritz Kortner. German postcard by Ross Verlag, no. 1325/1, 1927-1928. Photo: Ernst Sandau, Berlin.

Pauline Starke
Pauline Starke. French postcard by Les Vedettes de Cinéma by A.N., Paris, no. 227. Photo: Metro-Goldwyn Production.